Print of a picture of the S.S. Casino, This print is from an original painting by the Australian marine artist A V Gregory (1867-1957), also known as Arthur Victor Gregory. Gregory lived and worked in South Melbourne. He took over the Gregory Studio owned by his father, George Frederick Gregory, painting actively between 1899 and 1932. He usually signed his works as ‘A V Gregory’. Some of his original works have been sold for thousands of dollars. The S.S. Casino was a passenger and freight steamer built in Dundee, Scotland, in 1882 for the Newcastle and Hunter River Steam Navigation Company of N.S.W. She weighed 425 tons gross with a length of 160.4 feet, beam of 24.1 feet and a depth of 10.2 feet. She had saloon accommodation for 35 people, a fore cabin for 25 more people, and she carried 300 tons of cargo. While on her delivery journey on May 30th 1882 the S.S. Casino called in at the Port of Warrnambool for coal ., narrowly escaping going ashore in gale force winds due to the quick action of the pilot. At that time, still at anchor, she impressed the directors of the Belfast and Koroit Steam Navigation Company so much that they bought her immediately; she was ideal for trade along the West Coast of Victoria. (The Belfast and Koroit Steam Navigation Company was first managed by Messers. Saltau and Osburne and after the passing of Mr. Osburne, by produce merchants Messers H. Sautau and Sons, who had a hay and corn store and shipping agency on the corner of Liebig and Koroit Streets in Warrnambool. ) The S.S. Casino became “the most famous steamer to operate in Victorian waters along the West Coast” by author Jack Loney. Captain Boyd was her first Master, followed by Captain Chapman, who stayed with her from 1890 until 1924. Captain W. Robertson followed for a short term, and then Captain Middleton then took command from 1925 - 1932. The S.S. Casino had several mishaps during her life. One was on 3rd January 1898 when she collided with the S.S. Flinders in Apollo Bay with minor damage. Another was on 24th October 1924 when she grounded on a reef at Point Hawdon near Grey River and most of her cargo (of Christmas goods) had to be dumped into the sea. Then in February 1929 she was ‘holed’ when she struck a submerged object as she entered Lady Bay, Warrnambool. On the morning of 10th July 1932, after attempting to berth at Apollo Bay jetty in heavy seas, Captain Middleton decided to take her out into the bay and wait until the seas abated. It was not realised that the anchor used to steady her as she manoeuvred to her berth had pierced her hull. She put about and headed for the beach but sank. Captain Middleton and nine others lost their lives; nine people were rescued including the two female passengers. Captain Middleton had been in charge of the S.S. Casino for seven years. He was the first ship’s Master to lose his life in a shipwreck in the West Coast trade. In the years following the turn of the century, the S.S. Casino remained the only regular trader with normal passenger accommodation along the West Coast. From 1882 she had made at least 2,500 voyages on the one run. Flagstaff Hill’s collection has a photograph of a portrait of Captain Chapman, , a ship model of the S.S. Casino that shows both forms of power under which she sailed, steam and sail. The ship is painted green and flies three flags. The inscription across the case of the ship model, incorrectly dated, tells the sad story of the wreck of the ship and the loss of lives on July 10th 1932 at Apollo Bay. A print in the Collection shows S.S. Casino underway in the heavy sea off Point Lonsdale, another two photographs show her at the Port of Warrnambool, leaving from the Breakwater in Lady Bay and another identifies the S.S. Casino as a ship from the Belfast and Koroit Steam Navigation Company. (Belfast is the original name for the township of Port Fairy).This print of the S.S. Casino is of significance for its association with the coastal trader S.S. Casino. The wreck of the S.S. Casino is considered an important part of Victorian and Australian cultural heritage and as such has been declared and protected as an Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). The detailed image of the vessel depicted in this print shows one of the many sail and steam vessels painted by the renowned Victorian marine artist A V Gregory, whose original works are highly valued today by marine collectors.Print with hand-painted watercolour highlights depicting the port side steamship SS Casinounderway in a heavy sea, merchant flag flying at the stern. Mounted in a decorative wooden frame behind glass. The original painting was by A V Gregory. The title of the picture is repeated in handwritten words on the matte below the artist's signature on the print.Signed "A V Gregory" Hand painted title "SS Casino off Point Lonsdale"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, h. sautau and sons, s.s. casino, west coast trader s.s. casino, victorian coastal trader, captain boyd, captain w. robertson, captain chapman, captain middleton, apollo bay shipwreck, s.s. casino at lady bay warrnambool, saltau and osburne, a v gregory, arthur victor gregory, melbourne artist

This painting was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This painting is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The painting is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this painting to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Painting, oil on board, behind glass framed with wood. Portrait of a child dressed in white, kneeling in prayer, within a dark room. The artist, P Butcher, titled the picture "The Infant Samuel". This object is part of the St Nicholas Seamen's Church Collection. Painted at centre bottom edge "THE INFANT SAMUEL.", and right bottom edge "B. BUTCHER"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, painting, oil painting, religious painting, infant samuel, p butcher

This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61

FALLS of HALLADALE - History The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She had a sturdy construction, built to carry maximum cargo and maintain full sail in heavy gales. She was one of the last of the ‘windjammers’ that sailed the Trade Route and one of the first vessels to include fore and aft lifting bridges, which kept the crew safe and dry in as they moved around the decks in stormy conditions. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles, 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items (a list of items held at Flagstaff Hill Maritime Village is included below). The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not to technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire.The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976).Watercolour painting behind glass, framed in the Art Deco style - stippled cream painted wood. There are some age marks under the glass. The painting depicts the Falls of Halladale with its stern under water. The back of the painting contains facts about the shipwreck handwritten in a similar style to the artist’s signature. The artist’s signature is not clear enough to identify. Inscription on the back: Pasted on typed text: Peterborough Handwriting: Falls of Halladale 2085 tons 4 masted iron barque wrecked Saturday November 14th 1908 Captain Thomson crew of 28 !st mate F Pearson 2nd mate T Griffinflagstaff hill, warrnambool, flagstaff hill maritime museum & village, maritime museum, maritime village, shipwreck coast, 1908 shipwreck, falls of halladale, peterborough, peterborough shipwreck, great ocean road, captain thomson, 1880s sailing ship, cargo vessel, 1st mate f pearson, 2nd mate t griffin, watercolour painting

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

A design for a Trade and Art Workshop at the Ballarat School of Mines was prepared by Ewan Jones and Associates on the Albert Street boundary around 1984. The M.B. John Building (Building K), a three storey, face red brick, restrained Late Twentieth Century International styled building with an elongated, cuboid form (defined by the parapeted facades) that is offset by projecting exposed concrete framed, round‐arched entrance and stair wells on the east (Albert Street) elevation (the centrally located entrance breaking the brick façade with glazing). The facades are also characterised by banks of aluminium framed, horizontal ribbon windows, which wrap around the building corners. Metal shades project beyond the windows, while post‐supported bullnosed verandahs and hoods and projecting concrete stairs are other features. On the west elevation, the cuboid façade is punctuated by projecting curved concrete and glazed, elongated bays at first floor level. (David Rowe/Wendy Jacobs) The M.B. John Trade–Art building of SMB was officially opened by the Hon. John Cain, Premier of Victoria, in the presence of Morgan B. John. Programs include 3 Dimensional Art, Painting & Decorating, and Engineering Trades. (SMB Institutional Plan 1989)Black and white photograph of a sketch for the proposed Trade Workshops at the Ballarat School of Mines, from the Albert Street vantage point. This building is known as the M.B. John Building on the SMB Campus.ballarat school of mines, trade workshops, flecknoe, m.b. john, ewan jones and associates pty ltd, albert street, morgan b. john, ewan jones and associates

The M.B. John Trade–Art building (Albert Street front) of SMB was officially opened by the Hon. John Cain, Premier of Victoria, in the presence of Morgan B. John. Programs include 3 Dimensional Art, Painting & Decorating, and Engineering Trades. (SMB Institutional Plan 1989) The M.B. John Building (Building K), a three storey, face red brick, restrained Late Twentieth Century International styled building with an elongated, cuboid form (defined by the parapeted facades) that is offset by projecting exposed concrete framed, round‐arched entrance and stair wells on the east (Albert Street) elevation (the centrally located entrance breaking the brick façade with glazing). The facades are also characterised by banks of aluminium framed, horizontal ribbon windows, which wrap around the building corners. Metal shades project beyond the windows, while post‐supported bullnosed verandahs and hoods and projecting concrete stairs are other features. On the west elevation, the cuboid façade is punctuated by projecting curved concrete and glazed, elongated bays at first floor level. (David Rowe/Wendy Jacobs)Image of a multi-storey brick building on the Ballarat School of Mines campus. The building is known as the M.B. John Building.ballarat school of mines, m.b. john building, morgan b. john, albert street, m.b. john

Research is currently being undertaken on this maritime painting.Painting behind glass, depicting P & O ship WILLIAM FAWCETT. Gold painted frame, gold matte. Signed N. P. Wilkinson ("on" at end of signature is obscured by matte). Inscriptions on back paper of frame. Signature on bottom right "N.P. WILKINSO - - " is partly obscured by the gold matte that covers the last letters "ON". (is artist Norman Wilkinson?) Inscription on paper on back of painting has pencil writing "24-ID 3/4/905" Also has a white sticker with pen writing "55"flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, norman wilkinson, n wilkinson, n p wilkinson, william fawcett, p & o ship

This painting is believed to have been created by an amateur artist C W Veale of Colac, who established an early bus service in about 1923, known at the time as the Blue Bus Service, which operated from Colac. This service was available for special trips within the Colac region. The Blue Bus Service became very popular with travellers to Lorne via the Deans Marsh Road. The label on the back of the painting comments on whether the ship would be in full sail at the time of the wreck. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen, and candles, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy that had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost families in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce, and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Painting in brown-stained wooden frame. Depicts three-masted vessel 'Loch Ard' in full sail on moderate seas. Ship has figurehead, figures on board, and a Union Jack flag on red background. Ship's hull is black with white stripe, and is red on waterline. Ship's name is on hull. Artist C. W. Veale, painted in 1978, signed on bottom right. Label on back of painting has typed description of the Loch Ard and a comment.Signature "C W Veale / 1978" Text on hull "LOCH ARD" Label on back; " "LOCH ARD" / The clipper ship Loch Ard was wrecked on the 1st June 1878. / Of 54 people on board only two survived : Eva Carmichael and Tom Pearce. / Pearce became hero of the wreck for saving Miss Carmichael. / This picture shows the Loch Ard in full sail in moderate seas. / When approaching Cape Otway from the west, she would be in rough water and would presumably not be in full sail."flagstaff hill maritime museum, colac bus services, blue bus service, cw veale, loch ard paintings, loch ard, veale, warrnambool, great ocean road, eva carmichael, tom pearce, thomas pearce, cape otway, cargo ship 1878

Madagascar was a large British merchant ship built for the trade to India and China in 1837 that disappeared on a voyage from Melbourne to London in 1853. The disappearance of Madagascar was one of the great maritime mysteries of the 19th century and has probably been the subject of more speculation than any other 19th-century maritime puzzle, except for the Mary Celeste. Madagascar, the second Blackwall Frigate, was built for George and Henry Green at the Blackwall Yard, London, a shipyard that they co-owned with the Wigram family. A one-eighth share in the vessel was held throughout her 16-year career by her first master Captain William Harrison Walker Walker. Madagascar carried freight, passengers, and troops between England and India until the end of 1852. In addition to her normal crew, she also carried many boys being trained as officers for the merchant marine. Known as midshipmen from naval practice, their parents or guardians paid for their training, and they only received a nominal wage of usually a shilling a month. Due to the Victorian Gold Rush, Madagascar, under the command of Captain Fortescue William Harris, was sent to Melbourne with emigrants. She left Plymouth on 11 March 1853 and, after an uneventful passage of 87 days, reached Melbourne on 10 June. Fourteen of her 60 crew jumped ship for the diggings, and it is believed only about three replacements were signed on. She then loaded a cargo that included wool, rice, and about two tonnes of gold valued at £240,000, and took on board about 110 passengers for London. On Wednesday 10 August, just as she was preparing to sail, police went on board and arrested a bushranger John Francis, who was later found to have been one of those responsible for robbing on 20th July the Melbourne Private Escort between the McIvor goldfield at Heathcote, Victoria and Kyneton. On the following day, the police arrested two others, one on board the ship and the other as he was preparing to board. As a result of these arrests, Madagascar did not leave Melbourne until Friday 12 August 1853. After she left Port Phillip Heads Madagascar was never seen again. When the ship became overdue many theories were floated, including spontaneous combustion of the wool cargo, hitting an iceberg and, most controversially, being seized by criminal elements of the passengers and/or crew and scuttled, with the gold being stolen and the remaining passengers and crew murdered. There have been many rumors as to what happened to Madagascar over the years but what really happened is still a mystery. The lithograph was made around 1950 from an original painting of Madagascar a Vessel with a notorious past and is interesting and a significant item for the ships part in early Victorian history. The picture is it’s self not valuable or can be associated with a significant person in history. The interest lies in the events that are linked to the ship in the mid 19th century.Lithograph of the ship Madagascar, in a wooden frameThe Madagascar East Indiaman 1000 tonsflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, the madagascar, east indiaman

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Painting of 1873 sailing ship the "Loch Ard". Oil painting on board behind glass, framed in white painted timber. Artist is C Smith. Inscription on back. "Loch Ard launched 1873, sunk near Pt Campbell, with loss of 52 lives 1878" "C. Smith" "Loch Ard" 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, loch ard gorge, maritime oil painting, c. smith, sailing vessel

This watercolour painting depicts a scene at Flagstaff Hill Maritime Village, showing some of the buildings and one of the vessels in the lake. The artist, Alfred A. Perry, lived in Victoria at the time of creating this painting. This painting is significant for its association with Flagstaff Hill Maritime Village. It shows a point in time, September 22nd, 1979, at which time the Ship's Chandler store was on the north of the lake. In 2022 the Ship's Chandler' is on the south of the lake and has been there for many years..Painting behind glass, framed in wood, black outline with watercolour. Depicting a scene of vessel at anchor on water, crane on wharf, buildings on track, valley and hills in background. Location is Flagstaff Hill Maritime Village. Artist is Alf Perry, painting dated 22-9-79.Signed "Alf Perry / 22-9-79" Handwritten on reverse "Alfred. A. Perry / 31 Vera St. / Bulleen / 850-3367"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alf perry, watercolour, alfred perry, alfred a perry, flagstaff hill history, 1979, flagstaff hill village

Lithograph of "Cedric the Saxon" Lithograph from the painting by Jack Spurling. Frame 12" x 10"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cedric the saxon, lithograph

Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art

Framed hand painted School of Mines Coat of Arms.On small plaque Ingenio Effodere Opes "With skill to dig out wealth" Scientia Laboris Coad Jutrix "Knowledge the handmaiden of labour"coat of arms, motto, ballarat school of mines, crest

Framed portrait by Margaret Bennett, a former student of Monica Miller at the Ballarat Teachers' College. monica miller, margaret bennett, ballarat teachers' college, portrait, university women

This painting shows a historic depiction of Australian whalers in action at sea, and shows the scale of man to whale. Whaling was one of the first industries in early Victoria. John Dollery was born in London in 1933. As a child he loved to draw and was a frequent visitor to the National and Tate Galleries. In 1957 Dollery came to Australia, settling in Queensland in 1965. After receiving a prize in a drawing exhibition, he began painting in oils, and is entirely self-taught. Whilst in Queensland he painted most of his canvases strictly from life and in 1977 he moved to Melbourne where he established himself as a full-time artist. John was very interested in Australia’s history, and most of his work represents this theme. Many of his pieces are in collections both in Australia and overseas. Dollery’s daughter is also an artist and has exhibited both her father's and her own works together in an exhibition 'Now and Then, Father and Daughter'.The painting is a significant work by artist John Dollery. Its subject of whaling shows an early Australian industry and shows the scale of man to whale. The decorative frame is appropriate for the era in which the scene would have taken place.Painting in oil on canvas, in gilt carved timber frame. Seascape, depicting a whale hunt. A spouting whale is behind a whale boat with six whalers aboard. A tall ship with seamen aboard is behind the whale. Two other tall ships and another whale boat are in background. An embossed plaque in bottom centre of lower frame has inscription.. Artist is J. Dollery. Stamped on the sticker “John Dollery / ARTIST / Crown Lot 16 The Esplanade Corinella, Victoria 3984 / Telephone: (056) 78 0644 “ Hand written on sticker “THE CHASE $xxx” Embossed in the wooden frame “30 / ART / Specturm” Signed “J DOLLERY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, whales, whaling, industry, whale oil, blubber, john dollery, the chase, corinella, historic art work, australian art work, australian historic artwork

Tim Walker’s work is an eye-catching array of shipwreck artefacts and associated items. They help tell the story of the 19th century ships that travelled across the world full of people and cargo that are now part of our history. The work was commissioned especially for Flagstaff Hill and highlights the famous story of the 1878 ‘Loch Ard’ shipwreck. The images also include two small items from the 1981 ‘Fiji’ shipwreck. Timothy “Tim” Walker was born in Britain in 1970. He is a self-taught artist who began with a desire to use his talents for full-time work. He moved to Warrnambool in 1990 and became involved in the Warrnambool and District Artists’ Society, where he has served for a period as President. In 2010 Warrnambool Art Gallery hosted an exhibition “Nine Lives” with works from nine local artists including Tim Walker. The ‘LOCH ARD’ 1873-1878 - brief history The clipper ship ‘Loch Ard’ was a built in Scotland in 1873. In 1978 the ship was sailing to Melbourne with 54 people on board as well as a mixed cargo of items, some of which were bound for the 1880 International Exhibition in Melbourne. On June 1st 1878 it was very close to its destination when it crashed into Mutton Bird Island, east of Port Campbell. Only two people survived. The wreck was re-discovered in 1967, almost a century later, and the site continues to provide evidence of the range of goods imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” The famous Loch Ard Peacock was also on board. The ‘FIJI’ 1875-1891 – brief history The barque ‘Fiji’ was built in Ireland in 1875. The sailing ship left Hamburg in May 1891, bound for Melbourne with a crew of twenty-five plus the captain. The ‘Fiji’ had almost reached her destination after a trip of 100 days at sea when, on September 5th 1891, she struck rock 300 metres from the shore at Moonlight Head, near Cape Otway. Eleven men lost their lives but with the help of locals including members of the Rocket Rescue Crew, the rest of the men were saved. In anticipation of Christmas, the cargo had included a wide variety of children’s toys, amongst which were dolls with china limbs, wooden rocking horses, miniature ships, and red and white rubber balls. There were also cases of dynamite, pig iron, steel goods, spirits, sailcloth, tobacco, fencing wire, concrete, 400 German pianos, concertinas and other musical instruments, artists’ supplies, porcelain, furniture, china and candles. This artwork has historical significance as it shows a small sample of the variety of items on board the late 19th century ships bound for Australia in the Colonial and late God Rush period. The cargo contained personal luggage, items intended as gifts, and goods ordered for domestic, commercial or industrial use. The wreck sites of both vessels, ‘Loch Ard’ and ‘Fiji’ are classified on the Victorian Heritage Register as significant and are now protected by government law. The sites are popular with divers and provide interpretive material regarding social and maritime history. Framed poster of a watercolour painting by Tim Walker, gilt frame, behind glass. Subject is a group of objects, most of which are connected with the 1878 shipwreck Loch Ard, such as items recovered from the shipwreck and the famous ‘Loch Ard Peacock’. Two items are from the wreck of the ‘Fiji’. Inscriptions on ingot, a handwritten letter, bell, clear bottle, and small plaque.On ingot: “PONTIFEX & WOOD. LONDON”. On letter: “Presented to Mr. Thomas Pearce”. On small ingot: “TIM WALKER”. On bell: “LOCH ARD”. On clear bottle “THE SINGER MANUFACTURING COMPANY“. On plaque: TIM WALKER”.warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, flagstaff hill, loch ard, fiji, watercolour, timothy walker, tim walker, warrnambool & district artists’ society, warrnambool art gallery, poster, henna street picture framers, cargo, print

The diorama of mounted specimens of seaweed was framed by Richard Foster Norton for Thomas Watson and is dated 1860. Watson was the Warrnambool District Surveyor at the time (1860). The inscription on the back of the frame links the artwork to the Pigeon Hill property, which was located on Allansford Road (corner of Staffords Road – north side of the Princes Highway-A1). In the 1860s, the property known as Pigeon Hill was owned by William Wall who was a publican who ran several hotels in Warrnambool and district. In 1860 Wall, was running a hotel in Wangoom, near Pigeon Hill. Further research is required to determine the exact location, but Pigeon Hill could also have been the name for that area and may have had other people living there. Thomas Watson was a member of the local horticultural society. Another possible creator of the artwork is Samuel Hannaford, a biologist with a particular interest in collecting marine flora. Hannaford left Warrnambool in 1857 and went to Geelong, so it is possible he collected the specimens had them framed in Geelong, and then arranged for their return to Watson. The other known seaweed collector was Henry Watts, who lived in Warrnambool in the mid-19th century. The seaweed collection in this box was possibly one of Watts' and could have been prepared for the Victorian Exhibition of 1861, Richard Foster Norton, also known as R.F Norton, was one of only a handful of picture framers in 1850s Melbourne. Norton was born on the 24th of July 1822 in Yelvertoft, Northamptonshire and prior to his arrival in Australia, Norton is listed in England as having the occupation of a painter. It appears that he established his business in Melbourne in 1854 or 1855. Between 1855 and 1865 he operated from 87, then 83, and later 80 Collins Street. In the Argus newspaper, Norton advertised his business as a Print seller, Carver, Gilder and Picture Frame manufacturer, supplying the growing demand for artworks and decorative furnishings in the colony during the Gold Rush. Norton also had a Geelong branch in Market Square, where this work was produced. This framed work is highly significant. Previous research has found that only six frames are in existence that can be attributed to be made Norton, dating from the late 1850’s to the mid 1860’s. Moreover, Thomas Watson the owner of the artwork, is one of the government surveyors of the region during the mid-19th century.Diorama in deep wooden frame, behind glass. Seaweed specimens have been mounted within the frame. The back of the frame has handwritten inscriptions including the framer's label (portions missing). The diorama was framed by Richard Fraser Norton. Printed label; "RICHARD FOS --- Picture Framer and -- MANUF -- CARVER, GILDER, ---- PAINTINGS CLEANED, LINED AND --- GLASSES RESILVERED, FRAMES --- Architectual Decorations created to any design in Paper Mache, Carlton Pierre, or Composition, Country Orders promptly attended to, The Order Suppl ---, BRANCH ESTABLISHMENT, MARKET SQUARE, GEELONG" flagstaff hill, warrnambool, maritime museum, richard foster norton, r.f norton, picture framers, melbourne, geelong, artwork and decorative furnishings, gold rush, seaweed, botanical specimens, 1860, pigeon hill, district surveyor, thomas watson, william wall, wangoom, samuel hannaford, henry watts, victorian exhibition, 1861, yelvertoft, northamptonshire, market square

Black and white photograph: image shows framed items on wall, models of ships in glass cases, on display at Golden Days Historical Exhibition, 1960. Model ships and paintings belonged to 'Mr. Alfred G. Rutland of Chewton' (see inscription on back of photo 8096.14)bendigo, history, golden days historical exhibition

Ribbed wooden frame painted cream with an oil painting of red and white poppies on glass.artwork, oil painting, on glass

Castlemaine State Festival, Castlemaine. 2 November 1990. Programme. From the Chairmen - Mr Bereck Segan. Melbourne Committee: B R Segan, O.B.E. (Chairman), M Besen, A.O. (Deputy Chairman), Mrs H Dore (Hon. Sec.), C Anzarut, N Bourke, Ms M Coillet, Prof. C Duckworth, G Fairfax, A.M., K MacKenzie-Forbes, A.M., Mrs B Margetts, Dr F R Moulds, I.S.O., R Nordlinger, J Parker, M.B.E., A Porter, Ms M Prendergast, C Pyett, Ms D Reilly, Mrs, Ms L Schiftan, P M Schiftan, D Segan, B J Stewart, Ms S Walker, Dr R Wlikie. Melbourne Committee: I O'Halloran, (Chairman), Mrs M Rilen (Hon.Sec.), Miss R Wood (Treas), Mrs L Bennet, Mrs M Bock, S Cox, Cr T Daniell, Mrs H Griffiths, B Heydon, N Jennings, Mrs C McKellar, Miss M Oliver, L O'Toole, F Ransome-Smith, J Shortal, Dr D Silver, Mrs V Victor-Gordon, Mes E Warren, Miss L Waters. Welcome to the 1990 Castlemaine State Festival. As one festival closes, planning for the next commences immediately.. . Mr Ian O'Halloran, Chairman, Castlemaine. Castlemaine State Festival Administration, Festival Manager: Phee Broadway, Manager's Assistant: Mary Harris, Technical Manager: Lis Pain, Drawing Prize Co-ordinator: Bev Singleton, Farnham Concert Co-Ordinator: Noel Jennings with Victorian Rock Foundation. Event Listings: Opening by Hon. Jim Kennan M.P., Deputy Premier and Minister for the Arts Castlemaine Stadium. Melbourne Symphony Orchestra, Conductor - Hiroyuki Iwaki, Soloist - Dong -Suk Kang. Royal Variety Club Grand Final Theatre Royal, Town Crier Mr Neville Stonehouse. Kilmna Wildflower Walk. 'Melbourne: Architecture Today and the year 2000' Professor Peter McIntyre, A.O. Wine tasting. Selected Antique Fair. Organ Recital, organist Michael Bottomly. Mickleford Tour. A Closer Look at Castlemaine, Castlemaine Historical Society. 'Local Brew' Love Letters by A R Gurney, Starring Julia Blake and Terry Norris Directed by George Fairfax A.M. The Noel Watson Show. John Pringle and Miriam Gormley sing Operatic Gems with the Rantos Collegium and conductor Nicholas Braithwaite. The Incredible Shrinking Mortgage Show', Pat Wilson and Adrian Barnes. Festival Nightcap, Mr P P an acrobatic delight. Breakfast with Potts in the Park. A Stroll Around Town, Historical Society guide. Gardens Open. Selected Antique Fair. Festive Family Fun, musician Natasha Moszenin, Fratellini Brothers, Tim Hurley, Wally Fair Ground Organ, Foundry Band, Megan Jones, Mr P P. A guided Tour, Mrs Marjorie Rilen. Goetz Richter - Violin, Jeanett Carrigan - Piano. 'King Lear', Berenice Kavanagh and Suzanne Kersten. The Chagell Ensemble, Rita Reichman, Piano, Semmy Stalhammer, Violin. Trevor Jones, Viola. David Pereira, Cello. Steven Reeves, Double Bass. 'The Incredible Shrinking Mortagage Show' Pat Wilson and Adrian Barnes. Festival Hymns. 'Recital' Hellen Noonan, Douglas Horton, David Chesworth, Jacqui Everett, Jude Gunson. Music for Flute and Piano, Dereck Jones - Flute, Jeanell Carrigan - Piano. 'Brass With Class' William Evans - trumpet, David Farrend - trumpet, Russell Davis - french horn, Ken McClimont - trombone, Eric Klay - bass trombone. Piano Recital - Richard Mapp. Chris Ludwick's Society Synocopators - Cup Eve Cabaret, Chris Ludowyk - trombone, Peter Gaudion- Trumpet, Richard Miller - reeds, Pip Avent - tuba, Cal Duffy's - drums. 'Cup Eve Comedy' Rachel Berger and Richard Stubbs. Festival Nightcap Mr P P. Botanical Gardens Tour Kevin Walsh. Alice's Adventures in Wonderland Glenn Elston. By arrangement with Feipp and Park Projects and Elston, Hocking and Woods Pty Ltd. Family Concert, Piano for 4 hands Jocelyn Abbott and Richard Mapp, actor Justin Shortal. Cup Day Sports Carnival. Fashion Parade, luncheon available at Georgians in George Clark Place. The Melba Trio, Carolyn Hayes - Oboe, Jane Stacvy - cor anglais, Seng Tong - Oboe. 'Images' Prudence Davis - flute, Jeffrey Crellin - oboe, Peter Lynch - guitar. 'Sounds in Time' Andree Cozens - soprano, Berenice Kavanagh - words, Dudley - Simons - piano, John Snowden - Guitar, Peter Taylor - Set design & lighting. 'Music for Celestial Voices' Laurence - Jenkins - organ, Mary Anderson - harp, Margot Anderson - harp, Margot Cory - soprano. 'Proms for Preps' Nehama Patkin. Organ Recital Keeith Bottomley. Kaweka Walk, Kaweka Reserve Committee. 'Camille Claudel'. The Tudor Choristers Musical Director - John O'Donnell. 'Something for Everyone' Nehama Patkin - piano, guitar and voice, Peter Clinch - saxaphone and clarinet, major Australian Orchastras. 'The Dock Brief' & 'What Shall We Tell Caroline' Neville Stonehouse, Kay Barker, David Bickart, Angela Walter. 'Bluebeard' The Rag & Bone Theatre Company. Poedijono and the Javanese Gamelan, Poedijono (Teacher), musician, dancer and puppeteer. Botanical Gardens Tour, Kevin Walsh, horticulturist and garden writer. 'Music through the Ages' 'Pizzicato' - classical guitar ensemble, Castlemaine Courthouse, Bruce Millar, Meryl Wilkinson, Greg Wilkinson, Greg James, Joan Maher, Danny Silver. Bach and Vivaldi - Elysium Ensemble Greg Dikmans - Art Director, flute & recorder, Julie Hewison - violin, Lucinda Moon - violin, Janet Ferandez - viola, Miriam Morris - cello, Rosemanry Westbrook - double bass, John O'Donnell - harpsichord. 'Handle by Candle' Laurence Jenkins. Sarah Grunstein at the Piano, Sarah Grunstein. 'Let the Children Sing' Castlemaine Children's Choir, director Michael Bottomley, soloist Peter Bottomley. 'Made in Australia' Phillip Day, Bruce Waston, & 'Twankydillo'. The Dancers Company of the Australian Ballet, Les Sylphides, Dame Peggy van Praagh, Sir John Betjeman, Robert Ray. 'The Wooden Child' Handspan Theatre, Douglass Horton, Ken Evans, Andre Greenwell, Peter J Wilson, Philip Lethean. Botanic Gardens Tour Kevin Walsh. Divine Accidents and Heavenly Venues' William (Bill) Akers, A.M., Director of Productions, Australian Ballet. Jazz at the Jail. Another Stroll round Castlemaine, Historical Society. Muckleford Tour, Naturalists Club. 'Sketches' The Argus Guitar Quartet, Jochen Sxhubert, Tania Ravbar, Samantha Tout, Chi Ly.Scores for Instruments and Voices, Phylis Bachelor. Fred Shade, flute; Mara Miller, Violin; Len Vorster, piano; Loris Synan, soprano; and the students of the Faculty of Music, Melbourne University. Music for Four Hands at One Keyboard, Jocelyn Abbot and Richard Mapp. Paul Grabowsky and the Groovematics, Paul Graboesky, piano. Andrew Gander, Drums. Doug de Vries, guitar. Bob Venier, Trumpet, Flugelhorn. Ian Chaplin, saxophone. Garry Costello, double bass. Shelley Scown, vocals. 'My Most Loved Songs' David Bickart - Basso. Chapliapin, McEachern, Pinza, Robeson, Dawson. A Stroll Around Town, Historical Society. Breakfast at Buda. Garden Open. Festival Eucharist, choir and orchestra Directed by Kevin Bottomley. Music, Madness, Magic. Itchy Feet Pep Band, 'Sound Steppers', 'Legs on the Wall', Andrew Elliot, Antebodies. A Guided Tour of Angligan Parish Church. John Farnham in Concert, The Chain Reaction Tour. John Farnham. Exhibitions: Aspects of France: The Australian Artist's View. Artsits include John Russell, Lloyd Rees, David Davies, John Dent, Eric Wilson, E Phillips Fox, Ethal Carrick, Rupert Bunny, Max Meldrum, Will Ashton, George Bell and others. Annemieke Mein: Embroidery and Applique. Castlemaine Artists Incorporated 6th Biennial Exhibition. Dominique Segan Castlemaine State Festival Drawing Prize 1990. 'Provocative Pieces'. 'Feathered Friends' Barbara Muir. Through the Looking Glass. Handmade - For Pleasure, Julie Cook - dolls and puppets; Traude Beilharz - hats; Gwen Cook - embroidery; Erika Beilharz - woven pieces. 'High Art' students of Castlemaine. 'Works in Wood' Laurie Vella. Old Telegraph Station, Pioneers and Old Residents Association, Jubilee booklet on sale. Studio Exhibition, Juliana Hilton: Prints, paintings decorated screens and furniture. Val Restarick: Pottery and outdoor planters. 2nd Biennial Ernest Leviny Commemorative Silver Exhibition, leading contemporary silversmiths; Hendrick Foster, Tony Kean, Mike Wilson, Flynn Bros, Andrew Last, Mark Edgoose, Peter Gerter, Beatrice Schlabowsly, Marian Hoskings, Karyn Kirby, Chris Sherwin, Peter McBride, Fran Allison. Ray Stanyer - Ceramic Paintings. Norman Anderson - Water Colour Studies. 'Australian & Baroque' David Terry. 'Mediterranean Images' Val Restarick. Framing Shop, Brian Harding. Exhibition of Women Artists, Liz Caffin, Mary Quinlton, Debra Watkins, Lorraine Le Plastrier. Maine Images, Jacki Bickart, Valarie Blake, Sue Breeney, Kate Burtchell, Janet Chapman, Diana Davidson, Betty Hall, Deidre Hull, Molly Maddox, Norma McKenzie, Beth Oag, Rhyll Plant, Michell Phillipson, Diane Thompson. Ceramics, Ian Drumond. 'The Esplanade of Palms' (Brickworks Exhibition), John Wilkins. Han Built Pottery, George Butcher. Hollis Gallery, Richard Hollis, Kathy Hollis. 'End of an Era', Castlemaine Technical College Student Exhibition. 'Building A Country', Commissioned by the Latrobe Library, the Australian State Library of Victoria. The Festival Exhibition. 'Colour - Three Way's, Alice Clague, Geoffrey Clague, Howard Tozer. Tonal Oil Painters and Tapestry Exhibition by a group of local artists, Albert Pollard, Shirley Anderson, Valerie Blake, Ivy Brown, Marjorie Byrne, Janet Chapman, Frances Cree, Colleen Hall, Loretta Harris, Phyllis McClure, Lorraine McDowell, Norma McLean, Margaret Maher, Winsome Morrat, Jean Perry, Martha Phillips, Alison Ross, Norma Sneddon, Val Story, Irene Szabo, Jean Wells, and Alan Winzor. Roma Dodson.'BarleyTwist Cottage', Bill Davies, Linda Long, Fred Kuhnl. Photography Exhibition: Faces and Souls. Children's Books and Illustrations, Meet the authors and illustrators. Burnett Gallery and Garden, Drew Lawson, photographer of Eaglehawk. Decorated Cakes & Sugar Craft Exhibition, Barbara Porter. Sponsored by Marong Hotel. The Central Victorian Unique Design & Restoration Centre, historical photographs, sketches, etc. Badger's Keep Nursery & Mr Badger's Shop, Margaret Lees, Bill Jackson. Carriage Builders & Restorers. 'Harmonious Inspirations X Four' Kristina Browning, Catherine Tait, Rod Pitt, Lindy McAboy, Castle Mice by Sonia. Historic Cottage, 'Orvil Dean Stud', John and Anne Murdock, Judy Dean. The Heritage of Maldon, Geoffery Stocks. Stanyer's Pottery, Dragon Magic, Annett Annand, Ellan Hansa. 2(two) copies of this program.event, entertainment, castemaine state festival, castlemaine state festival, castlemaine 1990. programme. chairmen - mr bereck segan. committee:b r segan, o.b.e. (chairman), m besen, a.o. (deputy chairman), mrs h dore (hon. sec.), c anzarut, n bourke, ms m coillet, prof. c duckworth, g fairfax, a.m., k mackenzie-forbes, a.m., mrs b margetts, dr f r moulds, i.s.o., r nordlinger, j parker, m.b.e., a porter, ms m prendergast, c pyett, ms d reilly, mrs, ms l schiftan, p m schiftan, d segan, b j stewart, ms s walker, dr r wlikie. melbourne committee: i o'halloran, (chairman), mrs m rilen (hon.sec.), miss r wood (treas), mrs l bennet, mrs m bock, s cox, cr t daniell, mrs h griffiths, b heydon, n jennings, mrs c mckellar, miss m oliver, l o'toole, f ransome-smith, j shortal, dr d silver, mrs v victor-gordon, mes e warren, miss l waters. mr ian o'halloran, chairman, castlemaine. castlemaine state festival administration, festival manager: phee broadway, manager's assistant: mary harris, technical manager: lis pain, drawing prize co-ordinator: bev singleton, farnham concert co-ordinator: noel jennings with victorian rock foundation. event listings: opening by hon. jim kennan m.p., deputy premier and minister for the arts castlemaine stadium. melbourne symphony orchestra, condustor - hiroyuki iwaki, soloist - dong -suk kang. royal variety club grand final theatre royal, town crier mr neville stonehouse. kilmna 'melbourne: professor peter mcintyre, a.o. organist michael bottomly. mickleford tour. castlemaine historical society. love letters by a r gurney, starring julia blake terry norris directed by george fairfax a.m. the noel watson show.john pringle and miriam gormley operatic rantos collegium and conductor nicholas braithwaite. the incredible shrinking mortgage show', pat wilson and adrian barnes., mr p p an acrobatic delight. potts in the park. a stroll around town, historical society guide. selected antique fair. festive family fun, musician natasha moszenin, fratellini brothers, tim hurley, wally fair ground organ, foundry band, megan jones, . a guided tour, mrs marjorie rilen. goetz richter - violin, jeanell carrigan - piano. 'king lear', berenice kavanagh and suzanne kersten. the chagell ensemble, rita reichman, piano, semmy stalhammer, violin. trevor jones, viola. david pereira, cello.steven reeves, double bass. pat wilson and adrian barnes. festival hymns. 'recital' hellen noonan, douglas horton, david chesworth, jacqui everett, jude gunson. music for flute and piano, dereck jones - flute, jeanell carrigan - piano. 'brass with class' william evans - trumpet, david farrend - trumpet, russell davis - french horn, ken mcclimont - trombone, eric klay - bass trombone. piano recital - richard mapp. chris ludwick's society synocopators - cabaret, chris ludowyk - trombone, peter gaudion- trumpet, richard miller - reeds, pip avent - tuba, cal duffy's - drums. 'cup eve comedy' rachel berger and richard stubbs. festival nightcap mr p p. botanicla gardens tour kevin walsh. alice's adventures in wonderland glenn elston. by arrangemnent with feipp and park projects and elston, hocking and woods pty ltd. family concert, piano for 4 hands jocelyn abbott richard mapp, actor justin shortal. cup day sports carnival. fashion parade, lucheon available ar georgians in george clark place. the melba trio, carolyn hayes - oboe, jane stacvy - cor anglais, seng tong - oboe. 'images' prudence davis - flute, jeffrey crellin - oboe, peter lynch - guitar. 'sounds in time' andree cozens - soprano, berenice kavanagh - words, dudley - simons - piano, john snowden - guitar, peter taylor - set design & lighting. 'music for celestial voices' laurence - jenkins - organ, mary anderson - harp, margot anderson - harp, margot cory - soprano. 'proms for preps' nehama patkin. organ recital keeith bottomley. kaweka walk, kaweka reserve committee. 'camille claudel'. the tudor choristers musical director - john o'donnell. 'something for everyone' nehama patkin - piano, guitar and voice, peter clinch - saxophone and clarinet, major australian orchastras.'the dock brief' & 'what shall we tell caroline' neville stonehouse, kay barker, david bickart, angela walter. 'bluebeard' the rag & bone theatre company. poedijono and the javanese gamelan, poedijono (teacher), musician, dancer and puppeteer. botanical gardens tour, kevin walsh, horticulturist and garden writer. 'music through the ages' 'pizzicato' - classical guitar ensemble, courthouse, bruce millar, meryl wilkinson, greg wilkinson, greg james, joan maher, danny silver. bach and vivaldi - elysium ensemble greg dikmans - art director, flute & recorder, julie hewison - violin, lucinda moon - violin, janet ferandez - viola, miriam morris - cello, rosemanry westbrook - double bass, john o'donnell - harpsichord. 'handle by candle' laurence jenkins. sarah grunstein at the piano, sarah grunstein. 'let the children sing' castlemaine children's choir, director michael bottomley, soloist peter bottomley. 'made in australia' phillip day, bruce waston, & 'twankydillo'. the dancers company of the australian ballet, les sylphides, dame peggy van praagh, sir john betjeman, robert ray. 'the wooden child' handspan theatre, douglass horton, ken evans, andre greenwell, peter j wilson, philip lethlean. botanic gardens tour kevin walsh. divine accidents and heavenly venues' william (bill) akers, a.m., director of productions, australian ballet. jazz at the jail. stroll round castlemaine, historical society. muckleford tour, naturalists club. 'sketches' the argus guitar quartet, jochen sxhubert, tania ravbar, samantha tout, chi ly.scores for instruments and voices, phylis bachelor. fred shade, flute; mara miller, violin; len vorster, piano; loris synan, soprano; students of the faculty of music, melbourne university. music for four hands at one keyboard, jocelyn abbot and richard mapp. paul grabowsky and the groovematics, paul graboesky, piano. andrew gander, drums. doug de vries, guitar. bob venier, trumpet, flugelhorn. ian chaplin, saxophone. garry costello, double bass. shelley scown, vocals. 'my most loved songs' david bickart - basso. chapliapin, mceachern, pinza, robeson, dawson. stroll around town, historical society. breakfast at buda. garden open. festival eucharist, choir and orchestra directed by kevin bottomley. music, madness, magic. itchy feet pep band, 'sound steppers', 'legs on the wall', andrew elliot, antebodies. a guided tour of angligan parish church. john farnham in concert. exhibitions: aspects of france: the australian artist's view. artsits include john russell, lloyd rees, david davies, john dent, eric wilson, e phillips fox, ethal carrick, rupert bunny, max meldrum, will ashton, george bell and others. annemieke mein: embroidery and applique. castlemaine artists incorportated 6th biennieal exibition. dominique segan castlemaine state festival drawing prize 1990. 'provocative pieces'.'feathered friends' barbara muir. through the looking glass. handmade - for pleasure, julie cook - dolls and puppets; traude beilharz - hats; gwen cook - embroidery; erika beilharz - woven pieces. 'high art' students of castlemaine. 'works in wood' laurie vella. old telegraph station, pioneers and old residents association, jubilee booklet on sale. studio exhibition, juliana hilton: prints, paintings decorated screens and furniture. val restarick: pottery and outdoor planters. 2nd biennial ernest leviny commemorative silver exhibition, leading contemporary silversmiths; hendrick foster, tony kean, mike wilson, flynn bros, andrew last, mark edgoose, peter gerter, beatrice schlabowsly, marian hoskings, karyn kirby, chris sherwin, peter mcbride, fran allison. ray stanyer - ceramic paintings. norman anderson - water colour studies. 'australian & baroque' david terry. 'mediterranean images' val restarick. framing shop, brian harding. exhibition of women artists, liz caffin, mary quinlton, debra watkins, lorraine le plastrier. maine images, jacki bickart, valarie blake, sue breeney, kate burtchell, janet chapman, diana davidson, betty hall, deidre hull, molly maddox, norma mckenzie, beth oag, rhyll plant, michell phillipson, diane thompson. ceramics, ian drumond. 'the esplanade of palms' (brickworks exhibition), john wilkins.han built pottery, george butcher. hollis gallery, richard hollis, kathy hollis. 'end of an era', castlemaine technical college student exhibition. 'building a country', commissioned by the latrobe library, the australian state library of victoria. the festival exhibition. 'colour - three way's, alice clague, geoffery clague, howard tozer. tonal oil painters and taperstry exhibition by a group of local artists, albert pollard, shirley anderson, valerie blake, ivy brown, marjorie byrne, janet chapman, frances cree, colleen hall, loretta harris, phyllis mcclure, lorraine mcdowell, norma mclean, margaret maher, winsome morrat, jean perry, martha phillips, alison ross, norma sneddon, val story, irene szabo, jean wells, and alan winzor. roma dodson.'barleytwist cottage', bill davies, linda long, fred kuhnl. photogralhy exhibition: faces and souls. children's books and illustrations, meet the authors and illustrators. burnett gallery and garden, drew lawson, photographer of eaglehawk. decorated cakes & sugar craft exhibition, barbara porter. sponsored by marong hotel. the central victorian unique design & restoration centre, historical photographs, sketches, etc. badger's keep nursery & mr badger's shop, margaret lees, bill jackson. carriage builders & restorers. 'harmonious inspirations x four' kristina browning, catherine tait, rod pitt, lindy mcaboy, castle mice by sonia. historic cottage, 'orvil dean stud', john and anne murdock, judy dean. the heritage of maldon, geoffery stocks. stanyer's pottery, dragon magic, annett annand, ellan hansa.

Black & white photo of Billie Thompson in WW1 - AIF Uniform sitting on wooden crossed chair. Black & white photo of Mabel Hopkinson standing, dressed in long white wedding dress with long sleeves, dark hair with large white hat, necklace, holding bunch of flowers, white shoes. Glass in middle of photo with painting of little red robin bird, sitting on a tree branch of white flowers-blossom, with green leaves. Frame has green leaf branches with silver buds. Markings/Inscriptions: Picture frames & gold enamel enlargement & presentation frames a speciality. Picture Gallery. The Hall. Smith street. Collingwood. Near Stanley street. ( DU. RIEU & Co. TYP ) Deframed 2022.Made by L.H.Evans manufacturer of the celebrated lion brand.person, group, wedding portrait

Coloured oil portrait on canvas of T.Langdon. MP. 1902. Prominent Bendigo MP. Gilt - embossed frame. Deframedunreadableperson, individual, bendigo mp. t. langdon.

Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "Bendigo Mining Country." It shows a barren landscape of green shrubs and reddish dirt under a cloudy sky. A single poppet head and a chimney with smoke coming out can be seen on the right hand side with two houses further away. The painting is signed on the bottom left-hand side. The painting is under glass in a light brown wooden frame. Norman Penrose Collection On the back "Norman W. Penrose" ("Bendigo Mining Country') 14 Barkly Terrace, Bendigo. phone: 36420. In red chalk No 4 within a circle. bendigo, mining, norman penrose, artist, teacher

Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "Sand Pit Fortuna." It shows a mining sand pit and the Fortuna mine in the background. The painting is signed on the bottom right-hand side. The painting is under glass in a dark brown wooden frame. On the back: Penrose Norman William 14 Barkly Terrace east Bendigo. Price: - guineas. Title: Sand Pit Fortuna. For: drawing, watercolour and graphic art exhibition. Victorian Artista Society 430 Albert Street, East Melbourne bendigo, mining, norman penrose, artist, teacher, fortuna

Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "A view near Ballarat." It shows a barren landscape of green shrubs and reddish dirt under a cloudy sky. A few trees at bottom right-hand and a couple of houses in the background. The painting is signed on the bottom left-hand side. The painting is under glass in a light brown wooden frame. Norman Penrose Collection On the back "A view near Ballarat" phone 36420. Address: 14 Barkly Terrace, Bendigo. In red chalk within a circle No. 22. norman penrose, artist, teacher, ballarat

Small watercolour painting by George Rowe in a golden wooden frame. Under a red sunset the tipical Australian bush and several tents. The main part of the painting shows the Falcon Inn pub in Peg Leg Eaglehawk, four men are standing at the entrance and two aborigines are walking on the dirt road away from the pub. It is believed to have been painted around 1857.artwork, water colour, landscape, from dudley house. stored at the bendigo art gallery from 2000. returned to bhs 03/02/2023