William Bateman Snr was born to parents Daniel Bateman and Patience Wilkinson in Bradford, Yorkshire, England in approx. 1794. He married Sarah Smith on 20th November 1815 in Bradford, Yorkshire, England. They had four children – Patience (Born abt 1817), Daniel (born abt 1819) William (born abt 1831) & James (born abt 1837)all born in England. William Snr and Sarah Bateman and two sons – William and James - arrived in Australia in approx 1853. They brought with them considerable capital/stock and bought into a business in Warrnambool in William Jnr’s name. Bateman & Co rapidly became the largst mercantile business in the area and did rather extensive business with the Banks of Victoria and Australiasia. It is thought that William Snr assisted in the business to some extent, expecially financially. His other son Daniel (who remained in England) is also thought to have had a financial interest in the business as a dormant partner. The business was so prominent, Bateman & Co issued round copper tokens as a Trade Token - value one penny. These were inscribed with the Business name and were limited in their use to the business. In Sept 1856 the business was transferred to a Mr. Thos W. Sellars (nephew of William Bateman Jnr) and shortly afterwards the store closed with an order for the sequestration of the insolvents estate, but was not made absolute until December 1856 when the Insolvency court ruled for the “compulsory sequestration” of the business due to fraudulent activities within the business. But in the meantime in early November fire completely destroyed the business which left only the insurance payouts. Both William Bateman Snr and William Bateman Jnr are listed on the Pioneers’ Honour Board in the foyer of the Warrnambool Library. It is reported William Bateman Jnr was a trustee of Christ Church, was a City Councillor, and was involved in many other community organisations. He also subscribed towards the cost of building a permanent Church which was opened in 1856. William Bateman Snr died in Warrnambool on 30/03/1868 and his wife Sarah died in August 1868. William Bateman Jnr presented to Christ Church, stained glass windows in memory of his parents William & Sarah Bateman. William Bateman Jnr died in June 1913. Four stained glass windows, three lancet and one circular. The theme of the lancet windows depicts the three occasions when the apostles Peter, James and John were Jesus' sole attendants: The raising of Jairus' daughter. On the Mount of Transfiguration. In the Garden of Gethsemane. The circular window in the gable of the wall represents "The Enthroned Christ".

Context: A brace is a hand tool used with a bit (drill bit or auger) to drill holes, usually in wood. The pressure is applied to the top and the tool is rotated with a U-shaped grip. Bits used to come in a variety of types but today the more commonly used Ridgeway and Irwin pattern bits also rely on a snail point (called the snail), which is a tapered screw point shaped the same as a wood screw thread, which helps to pull the bit into the wood as the user turns the brace handle and applies pressure. The designs used today come from an original idea and pattern invented by John S Fray. Company History: John S. Fray (1833 ) immigrated to Bridgeport Connecticut USA from England in the 1850s and established a working relationship with Nelson Spofford, who held an 1858 patent for a bit brace (the tool could be augured in a continuous circular motion by hand). He established the John S. Fray Co. around the same time and immediately began producing the Spofford bit brace. Fray himself held at least two patents: one awarded in 1869 for a boring brace attachment, and another awarded in 1883 for a tool handle. By 1889, the firm was located at the industrial complex that sits between the former International Silver Company and the former Bridgeport Chain Company on Crescent Avenue and is identified on the Sanborn Insurance Atlas as a manufacturer of Spofford bit braces, hollow handle awl, and toolsets. The company was in competition with Peck Stow and Wilcox Co. of Southington, and in 1898 was enjoined from making a ratchet bit brace for which the latter company held a patent. By the 1920s, the factory had been purchased by the Stanley Company of New Britain and leased to the American Tube and Stamping Company, a manufacturer of brass, copper, seamless, and bicycle tubing, which also ran a rolling mill to the south on Stafford Avenue (now demolished). The Stanley Company bought both mills in 1926, perhaps as a strategic move to be located along the Bridgeport Harbour, through which much of the raw material used in its operations throughout the state came. By the 1950s, the Crescent Avenue operations had been moved to other sites in Connecticut, and Stanley again leased the building to a company called Cornwall and Patterson, a manufacturer of piano hardware. Today the building appears to be vacant. An early carpenters tool made by a well known early manufacturer from America who instigated many innovations to the making of tools. His early pattern for the improvement of a tool that could be used for the boring of holes in wood was a significant step forward. His design for a boring brace attachment and later a specific handle is still in use today and his original brace and bit is now sought after by collectors of antique tools. Spofford Carpenter's Bit Brace metal has bit attached. Wing nut holds bit in place but nut missing. holds bit in place. 285mm long x 160mm Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Benjamin Rank was considered by many to be the father of plastic surgery in Australia. He was born on 14 January 1911 in Heidelberg, Victoria, where his father, Wreghitt Rank, owned a grain store and mill. His mother was Bessie née Smith. He was educated at Scotch College, Melbourne, and Ormond College, University of Melbourne, graduating with many honours and prizes. He did a two-year residency in the Royal Melbourne Hospital before going to London to specialise in surgery. There he did junior posts at St James' Hospital, Balham, but soon became fascinated by the new specialty of plastic surgery and was appointed assistant plastic surgeon at Hill End (Bart's EMS unit). Joining the Royal Australasian Army Medical Corps in 1940, he commanded their plastic surgical unit in Egypt. In 1942, he returned to Australia to set up a plastic and maxillofacial unit at Heidelberg Military Hospital. Among the patients treated there was one Flight Lieutenant John Gorton, who went on to become Prime Minister of Australia. In 1946 he was the first honorary plastic surgeon at the Royal Melbourne Hospital. He spent much time overseas and was instrumental in setting up the specialty of plastic surgery in India, for which he set up 'Interplast' - a charity supported by the Rotary Clubs to offer training and expertise to Asian and Pacific nations. He was the Sims Commonwealth Travelling Professor of the College in 1958, Moynihan lecturer in 1972, President of the British Association of Plastic Surgeons in 1965 and President of the Royal Australasian College of Surgeons from 1966 to 1968. He made important contributions to the study of Marjolin's ulcer, radiation carcinoma, and the transition from benign to malignant melanoma. He also made a major contribution to hand surgery, and his textbook Surgery of repair as applied to hand injuries (Livingstone, 1953) ran to four editions. He wrote extensively, including an autobiography, and was a talented painter. He was a tireless campaigner for no-fault motor accident insurance and was President of the St John Ambulance Association. He married Barbara Lyle Facy in 1938. They had one son Andrew, and three daughters, Helen, Julie and Mary (one of whom became a nurse). He died on 26 January 2002. Reference; https:livesonline.rcseng.ac.uk surgeon, sir benjamin rank, heidelberg military hospital, plastic surgery, royal melbourne hospital

a. Book with a mottled blue-grey cover with brown leather spine and extends 5.5 cm to front and back. Corner edges also had the leather, two are missing and the other two are dilapidated. A red stuck on tape near the top of the spine had Ledger printed with some gold edging, most of which is worn off. Inside the front and back covers is a red, blue and white marble pattern. Front and back covers have been reinforced with white tape. 542 page Ledger Book for a general produce merchant. Probably Albert Bush. Alphabetical index at front. Entries in black ink on all pages and date from 1888 to 1920. Loose 4 page foolscap inside front cover listing Rolling Stock and Value. b. A pocket in the back of the book contains 6 pieces of paper relating to business and finance. Items include Discounts and Commission from 1888 to 1899, a note on insurance, a note dated June 2/90 headed Mr A Bush Sandhurst Dr to S A Bush & Co listing monthly amounts of money from Jan 1890 and 1889. Some amounts are with the name G P Reddie.Another one is a Building A/C dated 1889. Another is a balance sheet written on a page with another one written on the back and dated 1893. One written on paper headed Bush's Stores, Main Street, Bairnsdale and printed S.A.Bush & Co. It looks like a list of repayments listed in 8 bills. The other side of the page refers to Bill of Sales for Yeates & Baker and Bill of Sales held by the Bank of New South Wales. There is also a copy of two letters addressed to A Bush, one dated Oct 17.06 from H Hopkins referring to the late Mr Baker's property in Sale. The other is addressed to A Bush Esq and signed Harry Hopkins and also signed by Albert Bush and dated Nov 28 1906 in reference to the sale of a property.business, retail, bushs, bush collection - ledger book 1888 to 1920, abbott & co, allcock ?, australian producers & traders ltd, bush s a, bush albert, broome sp, brealey w h, blogg bros, b'daledistrict farmers co-op coy ltd, bush and hopkins, berry henry, brockhoff & co, bush mrs albert, colonial bank, corden i s & co, crosby h m, cannon j e, dudgeon and arnell, drevermann & coy, fry bros, felton grimwade & coy, fyansford maunfacturing coy, gearing jas, hawthorn rhodes & coy, henebery john, harper r & co, holford's contract, jack a & co, kellie wm, kitchen & co, kronheimer & co, miller d, lewis & whitty, levy bros and coy, melbourne chilled butter coy, mooney i, mitchell & coy, mann mrs, mceacharn & son, macrobertson, mckenzie i & co, parsons bros & coy ltd, peterson & coy, phoenix biscuit coy, reddie g p estate, ross bros, gippsland news, rosella preserving coy, rolfe and coy, robur tea coy, ross, ryan w, russo and santamria, sniders i ? b, swallow and ariell ltd, sutherland john, service & co jas, smallman mrs, thomas w c, sandhurst & n d trustees coy, voght george, victoria soap & candle coy, vogt k, vickers and gardner's contract, west z, west h m, water and kerang roller mill coy, yeates and watson, yeates and baker, yates and c ? arthur, yeates jas

Sepia photograph of Hunniford’s Eltham Post Office, Main Road near Bridge Street, Eltham, c.1888 (Postmistress Anne Hunniford possibly on left). The building originally had a shingle roof. Anne Hamilton born 1814 Co Tyrone, Ireland married Michael Head Burgoyne (1820-1843) in 1839, Co. Tyrone, Ireland. They had two children, Charlotte Caroline (1840) and John James Thomas Neville (Londonderry, Ireland 1844) Whilst pregnant with John, husband Michael died. Following John’s birth, she emigrated to Victoria, Australia where she married Thomas Hunniford in 1854. Daughter Anne Jane Hunniford was born in Eltham in 1855. Anne (Annie) Jane Hunniford and John James Thomas Neville Burgoyne were half siblings. In the mid 1860s Annie Hunniford succeeded her father, Thomas Hunniford as Post Mistress for Eltham. Photo dated based on advertising on façade of the building by Annie’s half-brother, John James Thomas Burgoyne promotes his services as the area manager for John M’Ewan and Co, Auctioneers as well as him being agent for the National Mutual Life Association of Australasia, National Insurance Company of Australasia, Federal Mutual Livestock Association of Australasia, and as a House, Land, Estate, Insurance and Financial agent. This was the time period that he placed advertising for same in the local paper. Australia Post: Gold brought life to the township - Diamond Valley News, Tuesday July 2, 1985, p17 On February 1, 1854, the first Eltham Post Office was established, commencing an association between the township and the Postmaster-General's Department that has continued for 131 years. At that time, the number of permanent residents would have been fairly small, probably less than 200. The discovery of gold in June 1851, at Anderson’s Creek, some five miles away, and later at Caledonia Diggings, Queenstown (now known as St Andrews), about 14 miles to the north-east, brought large numbers of prospectors passing through the township, hopefully culling the creeks and gullies for the precious metal. This additional "floating population" brought a greater demand for supplies and for communication with the outside world, and so it helped in the development of Eltham. Today, Eltham is a thriving township. It boasts an excellent shopping centre, municipal offices, court house. post office and many other amenities. Eltham continued to develop at a leisurely pace. During 1860, a total of just over 8000 postal articles were handled at the Eltham Post Office. By 1862, the mail route was "to and from Melbourne by way of Eltham and Kangaroo Ground, three times a week, by coach". There was also a branch mail that operated between Eltham and Greensborough, three times weekly. This was also conveyed by coach. Some time between 1864 and 1868 the management of the post office passed from Thomas Hunniford to his daughter, Miss Anne Hunniford, who managed the Eltham Post Office until her death in 1928. A big improvement in communication was provided for Eltham residents when a telegraph office was established at the post office in 1877. During 1923 a manual telephone exchange was provided at Eltham, the first two subscribers being J.J. O’Connor and Eltham Police Station. In 1949 the manual exchange was replaced by an automatic exchange and there were some 150 subscribers. Following the death of postmistress Miss Anne Hunniford in 1928, B.M. Burgoyne was placed temporarily in charge of the office. In 1929, J. N. Burgoyne was appointed postmaster, and he in turn was succeeded by H. C. Burgoyne in 1951. The post office was moved to a new site in 1954, but continued under the charge of Mr Burgoyne. In January 1958 there was a further change of site when the post office was raised to official status and transferred to new premises in Main Rd. William Donoghue was acting postmaster when the new office was opened. In March 1958 Mr W.E. Tovey was appointed postmaster, followed by Douglas McG. Gilmour in 1959. William Donoghue was fully appointed in 1966 and Barry Reichelt followed in 1973, prior to the present postmaster, Peter Jolly in November 1982. Peter is a young man with 18 years' experience. He commenced his training as a postal clerk at the training school in Melbourne in 1968 and was promoted to postal clerk at the Brunswick Post Office in 1969. He was finally transferred as postmaster to Fawkner Post Office in 1980. He has been at Eltham Post Office for the past 2½ years. He is married with one child and lives in Montmorency. The Eltham Post Office employs a staff of 21, of whom seven are indoor staff, 12 are postmen and two are drivers. The postmen in Eltham have an uphill battle delivering mail because of the hilly terrain. Nine of the postmen deliver mail on motorbikes, and the two delivery vans are both four wheel drives. Eltham Post Office services basically a residential area, with deliveries to 5600 homes. This is growing at the rate of 600 homes every 18 months, i.e. about 32 homes per month. At the present rate we will need a new postman every 18 months.Sepia photograph (two copies plus two black and white enlargements)Shop originally had a shingle roofpost office, eltham, main road, anne jane hunniford (1855-1928), federal mutual live stock insurance association of australasia, federal mutual livestock association of australasia, john j burgoyne, john m'ewan and co. auctioneers, national insurance company of australasia, national mutual life association of australasia

This dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bent stem and buckled bowl. Only 5% of original plate remains and base metal exhibits cu, fe, zi, oxidisation in bright spots. Some verdigris and an amount of encrustation on front and back of the spoon. Outlines of five makers marks are visible - Crown, Elipse, Rounded square, Circle, Diamond.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, spoon

This table spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This table spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history Unrestored table spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 40% of original plate remains. Some verdigris and concretion on front of spoon. Balance covered in Silver Oxide. Outlines of five makers marks are visible - Crown, Ellipse, Rounded Square, Circle, Diamond - but details are illegible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoon, spoon

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 10% of surface area is encrusted sediment and 10% displays aqua-marine coloured oxidation. Five impressions are visible on back of handle but only discernible makers mark is (4) fleur de lys. flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co., birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. The stem is bent and the bowl is cracked and corroded. Approximately 40% of the original plate remains. No makers marks are legible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of surface area is covered with sediment (collar and stem) and 30% of original plate remains. The outlines of five makers marks are visible - Crown, Small circle, Rounded square, Circle, Diamond - but details are obscured.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original plate remains, with 10% verdigris, and 10% sedimentary concretion on top of handle. No makers marks are visible.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl is bent and handle is corroded. Approximately 15% of original plate remains. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Concretion on bowl and collar.Some 25% verdigris on spoon. Handle corroded and bent slightly. Perished rubber band attached. One of five makers marks on lower rear of spoon handle is legible - (2) Plain cross mounted on inverted triangle (religious motif).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Black and white photograph backed onto black backing board showing a man in a long coat and top hat with his hands in his pockets and a moustachefrederick deeming, emily mather, murders

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Black and white photograph backed onto black board showing a lady in dark clothing and hat resting with her right elbow on the arm of a lounge. Woman is holding a small sprig of flowers in her left handEmily Lydia Mather. Murdered by Deeming 1892 (in black ink along top of photograph)frederick deeming, emily mather, murders

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Medium sized photograph of Frederick Deeming with a moustache drawn on the image in inkFrederick B. Deeming (on image in black ink)frederick deeming, emily lydia mather, murders

This medium-sized dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417.Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 50% original plate, 20% concretion, and 15% verdigris. There is a plain heraldic shield embossed on upper rear of spoon bowl (ratstail). Spoon is slightly bent.flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, dessert spoons

"In April 1969, the first major residential development in Melton began with the release of 148 homes for purchase. This was the first stage of a staggered release of a planned 30,000 homes for 100,000 people by 1990. The development, called Westmelton Satellite City, was described as ‘a preview of tomorrow’.101 It was the first estate built in a ‘modern’ style, with curved streets, and dozens of culs de sac. Westmelton was also the first major development in Victoria to build all the supply lines to the houses – including electricity and telephone lines – underground. The six different home designs in Westmelton were ‘specially designed for the future’, and with allotments ten feet wider than regulations required, there was plenty of ‘space for gracious living’ and for a family swimming pool. The developers of this new estate were active in promoting Westmelton as a new community within the Shire of Melton. By 1971, the Westmelton City News reported that Ian McIntosh, General Manager of Westmelton, had given away $100,000 on behalf of the company ‘to aid community projects’. This included a $72,000 donation towards building a community centre in Westmelton, and $25,000 for the shire’s Olympic-sized swimming pool. Ian McIntosh and his family moved to Melton and Ian said he was ‘very much aware of the needs of [the] Westmelton community’. By the end of 1971, Westmelton was home to 100 new families. The modern residences were obviously an appealing drawcard, but so was the country feel that characterised Melton. Mrs C. Allen, described as a ‘housewife’, said she and her husband chose to move to Westmelton because of ‘the quality homes ... and we both love the clean, fresh, natural environment that surrounds us’. Similarly, Mr W. Coxhead, insurance consultant, moved to Westmelton because of the ‘clean, fresh country air’. Accountant Mr B. Swanton echoed their sentiments, describing Westmelton as ‘far enough away from the industrial pollution carried over Melbourne suburbs by prevailing westerly winds’. The new development attracted an increasing number of young, professional couples and families, representing the beginning of a significant shift from the predominantly rural and farming community of the district’s past. The Westmelton development had four different ‘neighbourhoods’ designed to cater to a variety of different lifestyle needs. Westmelton was the first to be established, followed by Brookfield, which offered ‘superb land in a rustic setting’. Brookfield Acres offered ‘wide open spaces with lots of room for a pool and even a tennis court’ on huge one-acre blocks, while Westlake was an innovative development with ‘different sized homesites’ and ‘lakeside living’.Westmelton was the first of many residential developments that would come to play a huge role in shaping the shire in the decades to follow".A marketing brochure for the Westmelton Satellite City developmentlocal significant events, council

The subject of this photograph, David Charteris McArthur was the founding manager of the Bank of Australasia in Port Phillip (Melbourne). McArthur was born in 1808 in Gloucester, England, and educated in Scotland. He worked for an insurance firm in Edinburgh where in 1835 he married Caroline nee Wright. McArthur and his family party sailed from the U.K. to arrive in Sydney in October 1835, where he joined the Bank of Australasia when it opened in Sydney in December. McArthur sailed to Melbourne in August 1838 with 3000 pounds in coins, protected by armed guards and two bulldogs, to open the Melbourne branch of the Bank of Australasia. The branch grew quickly, servicing both private and government customers. He opened many branches in the goldfields during the1850’s. In 1862 he was appointed as general inspector of branches. He spent time with the bank in New Zealand. On his return to Melbourne, at age 57, he was put in charge of the entire bank. McArthur lived in the hills of Heidelburg, Melbourne. He was the first chairman of Associated Banks and was advisor to politicians and merchants. He was retired in October 1876 by the London directors and given a free trip to London, an annuity and a seat on the bank’s Advisory Board. McArthur was active in the community, being a member of the Mechanics’ Institute, on the committee that advised Governor Hotham on the Colony’s finances, chairman of the Heidelburg Road Board, one of the original trustees of the Library of Victoria in 1853 and president of trustees of the Public Library, Museums and National Gallery of Victoria in 1880-83. He was also on many other community organisations. He died in his home “Charterisville” in East Ivanhoe in 1887. He and Caroline had no children. The Melbourne branch of Australia and New Zealand Bank has a portrait of McArthur in its boardroom. St John's Church, Heidelberg, commemorates him with a stained-glass window entitled 'King David'. The McArthur Gallery in the National Gallery of Victoria is also named after him. (David's brother, Donald, moved from Sydney to Melbourne in 1836 with the first government survey team.) ABOUT THE BANK OF AUSTRALASIA In 1836 the Bank of Australasia was established in London by Royal Charter. In 1951 the bank merged with the Union Bank of Australia, to form ANZ Bank Limited. In 1970 it merged with the English, Scottish and Australian Bank to become Australia and New Zealand Banking Group Limited. Since that time the ANZ has acquired other banks and introduced Internet banking and mobile banking. BANK OF AUSTRALASIA IN WARRNAMBOOL The Bank of Australasia first opened in Warrnambool in July 1854 in a building on Merri Street. The manager was Mr Samuel Hannaford. The bank then purchased and moved to a stone building on the corner of Timor and Gibson Streets, previously owned by Cramond and Dickson and almost opposite the Examiner’s office. In January 1957 Mr W.H. Palmer became the new manager and was there until November 1869. The bank then built its own building on the corner of Timor and Kepler Streets in 1859. Mr Basil Spence, the teller, was appointed acting manager in 1869 and Mr H.B. Chomley was the next appointed manager, in April 1873 and was still manager in 1886. The municipality of Warrnambool first banked with the Bank of Australasia from 1856 to April 1857. David Charteris McArthur was the founding manager of the Bank of Australasia. This photograph of him represents the beginnings of Warrnambool's commercial history, with the municipality using the Bank of Australasia as its bank from 1856-April 1857.Photograph; portrait of David Charteris McArthur. Heavily retouched black and white print in plain brown varnished frame, behind glass, with plaque on lower edge and inscription lower left corner.Lower left corner "A-H 1-9". Engraved on plaque "DAVID CHARTERS MCARTHUR \ SUPERINTENDENT \ BANK OF AUSTRALASIA \ 1867-1876"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank of australasia, david charteris mcarthur, superintendent bank of australasia, colonial commerce, manager bank of australasia melbourne, colonial bank, warrnambool bank of australasia, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur

The Ballarat School of Mines was the first site of technical edducation in Australasia. It is now a predecessor institution of Federation University Australia. It's first president was Redmond Barry.Correspondence and planning documents relating to the setting up of the Ballarat School of Mines. it includes tenders for contractors for the refurbishment of the former Ballarat Circuit Court. .1) Rules for the pupils of the Mining School at Zurickau, 18/11/1870 (not translated by Emanuel Steinfeld, perhaps by W. Henderson) .2) Regulations of the Mining Academy at Frieberg, 18/11/1870 .3) Einrichtungen, Freiberg, 1870 (written in German) .4) Letter from Somerville Learmonth of Ercildoun to Harrie Wood, Clerk of the Board of Mines Ballarat, accepting a position as one of three trustees of the Ballarat School of Mines, along with Redmond Barry and R.H. Bland, 08/01/1870 .5) Printing order with Robert Wreford, 26/01/1870 .6) H. Waymouth to Mr Bickett re the Ballarat School of Mines, 1780 .7) Letter from R.H. Bland of Clunes to Harrie Wood of the Ballarat Mining Board, 27/01/1870 .8) Letter from Somerville Livingstone Learmonth of Ercildoun to Harrie Woods of the Ballarat Mining Board refusing the offer to be a Trustee of the Ballarat School of Mines, 28/01/1870 .9) Minutes of the meeting of the Ballarat School of Mines Executive Council, 05/02/1870 and Correspondence from Harrie Wood to J. Warrington Rogers re the lease of the building for the Ballarat School of Mines, 21/01/1870 .10) Chief Secretary's Office to Ballarat Mining Board re Life Membership of the Ballarat School of Mines, 02/02/1870 .10b) Letter from Redmond Barry, Carlton Gardens, Melbourne re the visit of the Governor of Victoria to the Ballarat School of Mines, 04/02/1870 .12) Letter from Charles Pucke on behalf of Mr McCulloch to H, Ainswood, Secretary of the Ballarat Mining Board, 11/07/1870 .13) Correspondence from Henry Rosales of Walhalla (Chairman of the Gippsland Mining Board) to James Baker of the Ballarat School of Mines, 28/12/1870 .11) Meeting of the Executive Council, Bickett, Eddy Downes, 08/02/1870 .14) Letter from John Phillips, contract surveyor of St Arnaud to Mr Newman, Vice-President of the Ballarat School of Mines, 15/12/1870 .15) Articles ordered and obtained for the Ballarat School of Mines, 03/01/1870 .16) Telegram from John Lewis of Clunes to the Ballarat School of Mines. .16b) Quote from painter Thomas Robson for painting the Ballarat School of Mines, 05/06/1870 .17) Note from Duncan Gillies to Harrie Wood re grant for the Ballarat School of Mines, 05/06/1870 .18) Correspondence re Grant to the Ballarat School of Mines, Duncan Gillies, 04/07/1870 .19) Correspondence concerning the Ballarat School of Mines from F. Valient to Harrie Wood, 14/05/1870 .19b) Correspondence from Somerville Livingstone Learmonth to Harrie Woods - an apology for a meeting with Judge Rogers, 23/05/1870 .20) Letter from R.H. Bland to Harrie Wood, 15/07/1870 .22) Telegraph from J. Warrington Rogers to Harrie Wood of the Ballarat Mining Board concerning tenders for the Ballarat School of Mines, which was established in 1870. .23) Letter from Ballarat Mining Board to Judge Warrington Rogers, 31/05/1870 .24) Telegraph to Harrie Wood of the Ballarat Mining Board from J. Warrington Rogers concerning Sir Redmond Barry. A note at the bottom of the telegraph notes ‘This telegram has been delayed through repairs on line. .25) Letter on Melbourne Public Library Letterhead from librarian Augustus Fulk, 05/08/1870 .26) Letter from R.H. Bland to Harrie Wood, 30/05/1870 .27) Letter from Robert Park re alteration of the former Ballarat Court House for use as the Ballarat School of Mines, 05/05/1870. .28) Letter from G. Whitty re painting of the former Ballarat Court House for use as the Ballarat School of Mines, 04/05/1870 .29) Letter from William Newman re plastering of the former Ballarat Court House for use as the Ballarat School of Mines, 05/05/1870 .30) Letter from Charles A. Abbott re teaching Mechanical Drawing at the Ballarat School of Mines, 04/04/1870 .32) Letter from Redmond Barry to the Ballarat School of Mines, 07/1870 .31) National Insurance Company of Australia insurance for the Ballarat School of Mines (former Ballarat Circuit Court), 01/05/1870 .33) Letter from R.H. Bland to Harrie Wood, 09/1870 .34) Letter from Somerville Livingstone Learmonth to Harrie Wood, 06/09/1870 .35) Letter to the Chief Secretary to the Ballarat School of Mines Library & Museum, 30/11/1870 .36) Parliament house (Kitto) to the Ballarat Mining Board, 15/11/1870 .37) H. de la Poer Wall of Grenville College to R.W. Newman of the Ballarat School of Mines, 27/04/1971 .38) W.H. Odgers to the Ballarat East Town Clerk, 20/05/1870 .39) Correspondence to the Borough of Clunes for the Ballarat Mining Board requesting a grant to set of a school of mines at Ballarat. 25/03/1870 .40) Surveyor to Harrie Wood, Mining Registrar, 27/04/1870 .40) Letter to Judge Warrington Rogers re the contractor's account for satisfactory completion of work on the Ballarat School of Mines, 11/07/1870 .43) Desks for the Ballarat School of Mines by Henry Gough, 1870 .44) Ballarat Star Office to James Baker of the Ballarat School of Mines, 1870ballarat school of mines, frieberg mining academy, learmonth, somerville learmonth, wreford, weymouth, bland, rivet henry bland, barry, redmond barry, mcculloch, phillips, john phillips, robson, gillies, duncan gillies, warrington rogers, melbourne public library, whitty, robert park, newman, william newman, charles abbott, janes baler, de la poer wall, odgers, louis le gould, wood, harrie wood, steinfeld, emanuel steinfeld, ainswood, pucke, thomas robson, telegraph, telegram, state library of victoria, fulks, architecture, reed, j. reed, rosales, abbott, charles a. abbott, mechanical drawing, drawing, ballarat circuit courthouse, ballarat courthouse, national insurance company of australia, grenville college, chief secretary's office, robert sandon, school of mines, schools of mines, establishment, ballarat school of mines establishment, germany, london, ercildoun

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417.Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 35% of original electroplating survives, with some verdigris, and 25% sediment encrusted on bowl of spoon.electroplated cutlery, loch ard, shipwreck artefact, nickel silver, william page & co., birmingham, tea spoons, makers marks, flagstaff-hill-maritime-museum, shipwreck-coast, electroplated cutlery, loch ard, shipwreck artefact, nickel silver, william page & co., birmingham, tea spoons, makers marks

This beautifully made ship model is a side relief of the steam ship “S.S. Nelson”, which was launched in 1877. The model’s case stands out because of its ornately carved internal frame. Relief models of ships, sometimes called half models, were often built by the shipbuilders as an exact scale model of the finished ship. The shipbuilders would use the model to ensure that the design was balanced. They would use the model as a point of reference during building. Also, ship models were used to demonstrate the designs to prospective buyers. It is not known whether this model of the “S.S. Nelson” was made for these purposes. HISTORY of the “S.S. Nelson” During the period 1840-1890 shipping was the cheapest and most practical means of carrying produce and goods to and from coastal towns such as Warrnambool. In the 1850s regular domestic steamer services began and by 1870 the passenger trade was booming. Passengers were taken to the ship’s side in small boats called lighters, which took it to ships at anchorage in Lady Bay, then climbed aboard up ladders or gangways. Their fare covered accommodation Saloon/Cabin section (higher class and more expensive) or the Steerage section (lower class and less expensive, below deck level). Produce included livestock such as pigs and fowls, and dairy products, bales of wool, and potatoes. The goods were loaded from the Warrnambool Jetty into the lighters. The S.S. Nelson was built by Messrs Blackwood and Gordon of Port Glasgow for a cost £25,000 in 1877. She was an iron screw steamer with an overall length of 200 feet, beam 25.5 feet and a depth of hold of 19.4 feet, which gave her a gross measurement of 649 tons. Her engines gave her a best speed of 13 knots and a maintainable speed of 12 knots. She was described as a handsome, star decked, efficient steamship, fitted with accommodating for 75 first class passengers in a saloon, and 40 second class passengers in a cabin. The S.S. Nelson arrived in the colony of Victoria on March 9th, 1877. She was first registered in Warrnambool by the Warrnambool Steam Packet Company under the management of Mr William Evans, and employed in the coastal trade of south west Victoria. She was very popular in 1878, registered under the new ownership of the Western Steamship Navigation Company, trading between Melbourne, Warrnambool and Portland. Captained John Nicholson commanded the S.S. Nelson after the previous captain, Thomas Smith, was suspended in 1882 for six months by the Victorian Steam Navigation Board following the collision between the S.S. Nelson and the S.S. Julia Percy. Other Captains include S Drewet and John Thompson. The S.S. Nelson was sold to Messrs. Huddart, Parker and Co. and re-registered in Melbourne on June 23rd, 1890. The new owners intended to use her for their Bass Strait crossing between Melbourne, Victoria and Launceston, Tasmania. On the night of Friday, June 27th 1890, under the command of Captain Carrington, she was on her way to Launceston on her first crossing for her new owners. She had no passengers and very little cargo and was to return to Melbourne with passengers the following morning. She was only 21 hours out of the dock when she struck Porpoise Rock in the Tamar River. All crew of 25 were saved but the bulkheads gave way and she rapidly filled before keeling over and disappearing in approximately 130 feet of water. The new owners had fully insured the almost 14-year-old S.S. Nelson with the Australian Alliance Insurance Company and she had only been in their possession for four days. This ship model of the S.S. Nelson is significant for its connection with the steam screw ship S.S. Nelson, one of a fleet of vessels owned by the Warrnambool Steam Packet Company. The S.S. Nelson was specifically built and purchased for the Victorian coastal trade business of the late 19th century, when shipping was the cheapest and most practical means of transporting goods and passengers between Victoria’s coastal towns and the major port at Melbourne. Once the railway came to Warrnambool in 1889, the steam shipping industry began to decline.Ship model; relief of the S.S. Nelson, showing deck superstructure, ventilators and single funnel. Ship's name is painted on the bow "NELSON". Wood model, varnished finish over natural wood and black painted areas. Timber case with ornate edging and glass front and sides."NELSON" painted on bowflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, s.s. nelson steam ship 1877, screw steamer, 1877 vessel, ship model s.s. nelson, blackwood and gordon port glasgow, warrnambool steam packet company, western steam navigation company, south west coast trader, sea transport melbourne to portland, victorian steam navigation board, s.s. julia percey, captain john nicholson, captain thomas smith, captain s drewet, captain john thompson, captain carrington, huddart, parker and co, bass strait crossing 1890, sea transport melbourne to launceston, porpoise rock tamar river, australian alliance insurance company, ship model making, vessels, victorian coastal trader

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane . J Moseley. maker and R Knight & J Heath also stamped stamped (Owners)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane . Stamped HB on one end and 8 on otherflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Wood Moulding Plane J Moseley & Son maker also stamped (Previous Owners) HIT & E Dunstan, RA Dixon with an N inside a W flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Side Bead Single Box moulding plane J Moseley & Sons maker also stamped Healy 188 High Street Poplar Surrey (retailers) marked (owners A Bowen & J W Gower with a symbol "M"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley