The Loch Torridon was built in response to the need for a large cargo-carrying ship in the 1870s becoming famous for being one of the most per4fect four-masted barques ever built. She was built for the Loch Line in 1880 by Messrs. Barclay, Curle, and Co. Her measurements were 287 feet in length and 42 feet in beam, and 24 feet depth of hold. She was well sparred and her sail plan was so perfectly balanced that she was a very handy ship, easy on her helm, which was not a common virtue amongst large four-masted ships of her day. Her sails were interchangeable on all three masts, which was common in the last days of sail for both economical and practical purposes. The Loch Torridon was considered one of the most graceful and elegant ships ever launched from the Glasgow shipyards. The first master was Captain Pinder, the first cargo was bound for Melbourne Australia, after which she went on to Calcutta with a cargo of horses. On August the 22nd 1882 with a cargo of Jute onboard loaded in Calcutta the Loch Torridon ran into a storm. Sailing in heavy seas the captain, the second mate also the man at the wheel, and a boy was washed overboard with the first mate just escaping the same fate. Captain Pinder and the crew members could not be rescued and were never seen again with the first mate having to bring the ship home. The next Captain was Robert Pattman who was regarded as a fine navigator and seaman who sailed the Loch Torridon for the next twenty-six years and nine months. He had made 25 voyages around the world during this time without any serious mishap. In 1909 Captain Pattman resigned his command of the ship to switch to a steam vessel but unfortunately was injured on his first voyage and had to be landed at Falmouth, he dies of his injuries shortly afterwards. The Loch Torridon kept on sailing until 1915 after having been sold to a Russian company two years earlier. Near the end of January 1915, the ship sprang a leak of the west coast of Ireland and was abandoned sinking shortly afterwards. For further information regards possible maker of the model see Provenance sec this document: The item is of significance as an item made possibly by a man who served on the original ship making the item of historical significance given that the original craft was a well-known and respected trade vessel making voyages between England and Australia as well as the near East. Ship model Loch Torridon 4 masted, hull is black, grey and white. Ship in full sail with 4 lifeboats on deck. Ship sits on textured base. Has plain blue background. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Merle Hall Collection - Arts Bendigo, Various sundry documents- a. One-page notice (''To All Teachers of Piano in the Bendigo Area'') of visit to Bendigo of former Bendigo student Tony Gray, notice date March 1993 - concert in the Banquet Room, Capital Theatre 14/3/1993; b. One-page notice of visit of Russian pianist Elisio Virsaladze and ''Moving Harps'' (trio) for October dates Year??; c. A5 brochure of information and dates for 1985 ''for many of the local and visiting arts-associated functions''. (3 pages of functions with dates, summary of performance and location of show; d. Single-page sheet of ''Arts Bendigo Activities Oct. '84 - Sept. '85 with paragraphs of ''Major Achievements'' and ''Disappointments'' and ''Thanks''. Also - ''Just Happened of Still To Come''; d. Six paged listing of 'Bendigo Subscribers' List 1979'' (Arts Council of Australia) with * annotations of being ''Financial'' - mostly personal names/addresses but some organizations. Approx 150 entries; e. two-paged list of ''Arts Bendigo Members July 1985'' with annotations of s= Single and F = Family members - approx 65 names; f. one-page Brief Report of Program Subcommittee June 1982, with rough analysis of attendance figures for recent shows; g. 3-page report of AB Development Sub-Committee meeting of 25/2/1985; h. two-paged report on ''Possible rehearsal and performing spaces in Bendigo area as known at June 1988 by Merle Hall, Secretary - brief details of 7 facilities and a number of ''Other'' facilities, with a final section on ''The Grand Vision''; i. One-page ''Proposals from Development Sub-committee'', prepared by Ellis C Blainer 3/3/87 - eight proposals in small detail; j. Bi-fold flyer ''Membership Information'' with description of AB activities and membership details/application form (not dated); k. A5 invitation of 'parchment' paper to ''25 Years of Achievement in the Arts'' (27/101995) - a brief AGM with a Social Evening from 8 pm; l. one-page invitation note accompanying the formal invitation to the special evening for 25th celebration of working with the arts in the Bendigo region.

This original tunic or jacket is part of the full dress uniform of the pre-Federation Victorian Permanent Artillery regiment. Its owner had the rank of Sergeant, as indicated by the three inverted chevrons. The Artillery design of the badges and buttons indicate the date of the tunic to be from 1893 to 1903. However the maker of the tunic, W. Moncton, began manufacture in Melbourne in 1899, so this the tunic can be dated between 1899 and 1903. The donor's grandfather was given this tunic but not the name of the original owner. It has since been suggested to the family that the tunic was worn by a local Western District Light Horse member. This could very well have been the case because mounted troops were officially referred to as the Light Horse in the late 19th to early 20th century. Several local men were involved in the Light Horse during the First World War. The donor's grandfather wore this tunic in the local district when riding a penny farthing bicycle. The donor's father also wore the tunic when dressed as a 'Captain' hosting a local disco dance. BRIEF MILITARY HISTORY- The Crimean War began In 1854 and many people in colonial Australia were afraid of a Russian attack. Volunteer forces were established to strengthen the British Imperial troops posted here. A battery of artillery was raised in Victoria as well as in other Australian states. In 1870 Australia became responsible for its own naval and military defence. The Volunteer Corps and Victorian Navy shared the responsibility of defending the existing forts, assisted by volunteer coastal and mobile field batteries. The Permanent Victorian Artillery force was established. It was disbanded in 1880 then re-formed in 1882 as the Victorian Garrison Artillery Corps. In 1895 the Geelong, Warrnambool, Port Fairy and Portland Batteries became part of the Western District Garrison Artillery. Many of the volunteers who served in the Artillery were from rural areas. They belonged to rifle clubs and were experience horsemen as well. Australia's defence at this time relied on these mounted troops, or Light Horse men. In 1899 the Victorian Garrison Artillery Corps amalgamated with the New South Wales and Queensland Permanent Artillery to become the Victorian Regiment of the Royal Australian Artillery (RAA). Then prior to Federation, the RAA and the Permanent Artillery of South Australia, Western Australia and Tasmania all combined, becoming the Royal Australian Artillery Regiment with two Batteries of Field Artillery; Battery A from Sydney and Battery B from Melbourne.This original uniform tunic of the pre-Federation Victorian Permanent Artillery is significant for its association with Australia's military defence and the fortifications of our district, state and country. The tunic is also significant, representing part of the history and evolution of uniforms in the Australian military forces. The tunic is also significant in its representation of Australia's independence in forming its own defences. The tunic has local significance in its connection with local social events.Tunic or jacket, part of the full dress uniform of the pre-Federation Victorian Permanent Artillery operating from 1893 to 1903. Original, single-breasted tunic of dark blue wool, red piping trim, black cotton lining in body. Sleeves lined with blue striped, white cotton. Front closure has eight brass buttons. Red band-style collar with hook-and-eye closure has gold bullion braid trim and a brass badge pinned each side at the front. Upper right sleeve has three inverted chevrons on red fabric with gold bullion braid trim (rank of Sergeant). Both sleeves have gold bullion braid 'Austrian knot' emblems stitched onto lower arm, with ends finishing on the inner sleeve. Shoulder epaulettes have red piping and smaller brass buttons. Closed back vent has vertical scalloped design with six brass buttons, in two columns of three, and red piping trim. Brass belt hook is attached to the left back waist, close to the seam (right side has a mark indicating a previous similar clip). Inside left breast is a concealed pocket. Tunic has both machine and hand stitching. All brass shank-style buttons have matching Artillery emblems with inscriptions on the back. The two brass collar badges have additional artillery emblems of exploding grenade and star as well as an inscription. Buttons were made for W. Moncton, of Melbourne and marked with his name. He traded from 1899, dating the tunic to between 1899 and 1903.Button front: Artillery emblem on front (field cannon facing left, in front of a muzzle-loading ram rod). Button back: engraved "W. MONCTON . MELBOURNE ." Collar badges: Artillery emblem (field cannon facing right | stars | exploding grenade | "AUSTRALIA")flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, uniform jacket, uniform tunic, garrison volunteer uniform, fortifications in victoria, victorian permanent artillery, pre-federation military uniform, sergeant's uniform, jacket, militia, victoria, victorian volunteer forces, victorian regiment, royal australian artillery, raa, field gun, sergeant, w. moncton, garrison, dress uniform, tunic, scarlet collar, red collar, scarlet piping, red piping, gold bullion, artillery emblem, light horse, artillery, mounted troops, victorian garrison artillery corps

In the early 1880s a small circus travelled between Millicent and Mt Gambier, South Australia. After camping overnight they discovered their Bengal Tiger at escaped and disappeared into dense scrub. After searching for hours they continued to Mt Gambier and reported the loss of the tiger to police. Police and local volunteers continued the search for the escaped tiger, but no sighting were made. In the early 1890s sheep in the Tantanoola area started to disappear with the still unsighted tiger being blamed. In 1893 reports of an unusual animal in the Tantanoola area started, with many describing the animal as the missing tiger, or a large dog. One eye witness claimed to have seen the animal carrying a full grown sheep in its mouth. The reports grew in number and exaggeration with sightings from Robe to Bendigo. In the Tantanoola district children were escorted with shotgun guards to and from school, with many homes keeping guns at the ready in case the tiger suddenly appeared. In August 1895 Tom Donovan shot the "Tantanoola Tiger" on Mt Salt Station, around 20 kms south of Tantanoola. The corpse was taken to Marks, a Mount Gambier taxidermist, at which time the animal was identified as an Assyrian or Northern Russian Wolf. Donovan displayed the animal far and wide. Despite the animal's death sheep continued to disappear from properties in the district over many years. It was of particular concern between 1909 and 1910. At that time Herbert Allchurch, an Adelaide detective, was sent to solve the mystery. A few days after his arrival Allchruch went to the front bar of the Tiger Hotel and arrested local rabbit shooter and trapper, Charlie Edmunson, with sheep stealing. After his 1911 trial Edmunson admitted to stealing over 4,000 sheep during the previous 20 years. He was gaoled for six years with hard-labour in January 1911. Edmunson had been selling the skins of the stolen sheep, leaving the carcusses to rot. He earned around five pounds per week during the 1990s and early 1900s, a time when the economy was depressed. It is not known had the animal known as the Tantanoola Tiger came to Australia, but it is believed it survived one of three ships wrecked of the coast between 1890 and 1893, making it to shore along with some of the shipwrecked passengers. (From a card produced by the Tantanoola Tiger Hotel, where the 'tiger' is on display.)A collection of Newsclippings from 1892 - 1895 photocopied onto A4 white paper. The clippings relate to the Tantanoola Tiger. Clippings include: * Border Watch 1892 - Tantanoola Tiger Reward * Sydney Morning Herald, 04/07/1857 - Animals in Zoological Gardens, including a number of large cats. * Claims the Tantanoola Tiger was an escaped circus animal (ie The Advertiser [Adelaide], 31 October 1893) * Search parties for the Tantanoola Tiger (ie Barrier Miner 19/05/1893; Barrier Miner 03/1081893) * Thylacine claim (ie Morning Bulletin [Rockhampton] 11/03/1895 * Afghan and Indian Hunters (ie Barrier Miner 07/02/1895) * Sighting by John Bird of Scarsdale - Wanganui Herald 15/12/1900. " ... Mr Bird was travelling on foot along a lonely track through very dense scrub, when he was stricken with amazement to see a full-grown tiger standing in a small dam about 30ft away, and holding in its jaws the carcass of a newly-killed lamb. He remained long enough to thoroughly take in the animals appearance, and then beat a hasty retreat unmolested. His description of the animal is as follows: A tawny-coloured creature, with a dirty mottled skin; in general appearance like an immense cat; body 4ft long, and of a uniform thickness from shoulder to hindquarters; in bulk equal to a very large pig. The legs were hidden in the water. A similar animal is reported to gave been seen near Canico, some miles away. ..." * Victorian country sightings # Bullarto - Argus 06/05/1905 # Dean - Launceston Examiner 28/01/1895 # Bendigo - Hobart Mercury 15/03/1895 # Ballan - Launceston Examiner 03/08/1895 * South Australian register 17/06/1885 " There is a tiger or panther wandering at large in Victoria, according to a rumour. It has taken the place of the Bunyip, whom hundreds have seen but none captured. This tiger is supposed to have broken loose from a travelling menagerie in the North-eastern district. At the beginning we should like it roved that such an escape ever took place. Perhaps the showmen were afraid to report the fact to the police; at any rate they did not do so. The first story about the tiger being seen came from the neighborhood of Wangaratta, 60 miles from the place where it is said to have commenced business on its own account. He was followed, but vanished among trees. Next we hear of a strange animal, bigger than a St Bernard's dog, but shorter legged, having appeared at least 150 miles from Wangaratta. Between Lilydale and Wangaratta there is a dividing range 2,000 feet high in the lowest past, besides several large rivers. An finally, the tiger - changed from a panther - is reported as having been seen within the suburban circle, about 8 miles from the general Post Office. They show you footprints, and point to the carcasses of mangled cows and calves. Casts have been taken of the footprints for examination by scientific men, who pronounce them doglike, and yet not doglike, but panther-like, which gives a nervous turn, for the panther may take up killing children and grown-up people. One tiger will not account for so many apparitions. There must have been a general strike among the menageries, and a breaking-up companies. ... * Research article by Philip A. Clarke "Indigenous Spirit and Ghost Folklore of 'Settled' Australia. australian animal folklore collection, tantanoola tiger, tom donovan, herbert allchurch, charles edmunson, sheep, charlie edmunson, mythical, myth, folklore

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2021 plans were in place for the 30th anniversary of the Hoppet when it was again stopped due to COVID-19. A virtual Hoppet was put in place. It ran between 1st and 29th August 2021 and was again successful, with almost 1200 entrants. 31 countries and all Australian states and mainland territories were represented. Participants came from Argentina, Austria, Canada, Czechia, Dubai, Estonia, Finland, France, Germany, Iceland, India, Ireland, Israel, Italy, Japan, Malaysia, Netherlands, New Zealand, Norway, Russia, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, UK and the USA.This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A poster featuring two skiers heading into the distance. One skier has a race bib with 30 1991 - 2021 visible on his back. At the top is a circular emblem featuring a kangaroo looking through the middle of the number 30. It is surrounded by the words "KANGAROO HOPPET ANNIVERSARY 1991 - 2021". Logos of Worldloppet, AGL, Falls Creek, Alpine Shire Council, Victorian State Government, the Birkebeiner Nordic Ski Club, FIS, Community Bank Mount Beauty & District and KANGAROO HOPPET are across the bottom of the poster. In middle of image: AUSTRALIA'S PREMIER X-COUNTRY SKI RACE Between image and logos: 18 AUGUST 2021 FALLS CREEK AUSTRALIA 7 KM 21 KM 42 KM HOPPET.COM.AUkangaroo hoppet, worldloppet events, falls creek, mt. beauty

Dr Henry Nowik played a critical role in the development of industry in Wodonga, through his management and leadership of Uncle Bens Wodonga from 1965 until 1979. Born in Poznan, Poland in 1917, Henry was studying medicine in Paris when World War II broke out and he enlisted in the Royal Air Force, serving with distinction as a Bomber Pilot. He was imprisoned in Russia when his plane ditched, escaped through Kazakhstan and was eventually evacuated to London where he was appointed RAF Aide-de-Camp to General Charles de Gaulle. He was later awarded the French Croix de Guerre. After the war Dr Nowik received a PhD in Political Science and Law from American Beirut University before moving to London to teach at the London School of Economics. He then moved into industry occupying a number of senior positions in marketing and market research. In 1964, Dr Nowik, then Market Research Manager for Pedigree Petfoods, the British arm of Mars Inc., came to Australia to research the prospects for establishing a petfood business. Dr Nowik was a passionate believer in the need for decentralisation of Australian industry. In 1965 Uncle Bens of Australia began building their first Australian factory in Wodonga, Victoria, from humble beginnings in a small house in Hovell Street. It became fully operational in 1967. Dr Nowik became the Marketing and Sales Director and in 1970 the Managing Director. Dr Nowik's work as a member of the Albury-Wodonga Consultative Committee was recognized in 1975 with the Order of the British Empire and in 1977 he was appointed Chairman of the Commonwealth Government's Decentralisation Advisory Board. He participated in a number of trade missions to Malaysia, China and Japan and was a Member of the Executive Committee of the Trade Development Council and the Victorian Promotion Committee. These contributions were recognised in 1982 when he was made an Officer of the Order of Australia. In 1979, Dr Nowik left Wodonga and moved to the United States to become Vice-President, Marketing for Mars, becoming Global Product Group President in 1980. Following his retirement in 1985 he continued to act as Senior Advisor to a number of Mars' businesses. Albury-Wodonga retained a special place in Dr Nowik's heart and he kept a close interest in Charles Sturt University, sharing his time, experience and expertise with staff and students. The University made him an honorary Doctor of Letters in 1993 when the Henry Nowik Lecture Theatre officially opened at the University's Albury campus. Later the City of Wodonga named a park in his honour. Dr Nowik and his wife returned to Australia in 2004, first living in Brisbane then moving to Maleny in Queensland. Henry Nowik died on 12th March 2015 aged 98. These items are significant because they demonstrate the contribution made to the Wodonga community and the Australian economy by Dr Henry Nowik AO OBE.A collection of items briefly documenting the contribution of Dr Henry Nowik to Wodonga, Victoria. Included are photos of Dr Nowik, newspaper items, a photo of the first office of Uncle Bens in Wodonga and a farewell card from Dr Nowik.dr henry nowik, uncle bens wodonga

S. S. ROWITTA: - The 1909 steam ferry, S. S. Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. S. S. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. The Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 the S. S. Rowitta was purchased by Flagstaff Hill to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting the S. S. Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. Arthur Victor Gregory (known as A. V. Gregory) was born in Melbourne in 1867. He was the son of George Frederick Gregory who was an established marine painter with a studio in South Melbourne. A. V. Gregory worked with his father and his elder half-brother (George Frederick Junior). They made numerous photographic reproductions of their ships' portraits, selling the originals to captains and owners and the photographic prints to the crews. A. V. Gregory inherited the business on the death of his father in 1890 and continued to paint until World War 2 when he stopped for wartime security reasons. Gregory worked mainly in watercolour and gouache. He kept all his working sketches so he could repeat earlier paintings and make more copies of the same ship. His carefully detailed portraits of every kind of vessels seen on Port Phillip Bay created a body of work regarded as a valuable record of the maritime traffic of that period.This print is a significant example of the work of the well-known and well-respected marine painter A. V. Gregory who created a detailed record of shipping in the Port Phillip Bay area in the years before W.W. 2. It is also significant as it connects the history of the S. S. Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The S. S. Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles and is significant for its association with Tasmanian history from the early to mid-1900s. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years.This is a photograph of a watercolour painting of the S. S. Rowitta. It shows a steamer moving through the water. The ship has a blue, metal hull, a wooden lower and upper deck, a lifeboat and smoke coming out of a chimney. Flags are flying from the bow, the stern and the mast. Seven figures can be seen on the decks. A second boat can be seen in the distance in the far left of the picture. It has the signature "A. V. Gregory - 12" in the bottom left corner and the title "S. S. Rowitta - 121 tns" in the lower right corner.Signed "A. V. Gregory -12-" Titled "The S. S. Rowitta / -121 tns" Printed on the ships' bow - "ROWITTA"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, s. s. rowitta, rowitta, a. v. gregory, painting, marine painting, marine painter, steamer, steam ferry, passenger ferry, alfred gregory, tarkarri, sorrento, speculant, print, photograph

The pews (18 small and 1 large) with 3 fronts were donated by Mrs E.W. Outhwaite in memory of her father, Nicholas Maine, who died in 1915. Nicholas Maine biography was published in the Australian on 11 September 1915 : "Nicholas Maine, whose paternal grandfather was rector of the Church of England and Ireland, parish of Dunaghy, County Antrim, came of a family of very considerable repute as merchants in Belfast. He was born at Ballymena on New Year's Day, 1826, and received his earlier education at the Diocesan School, Ballymena, and at Dr. Bryce's Academy, Belfast. After a three years' apprenticeship in a merchant's office, in Belfast, he ventured forth into the world as supercargo in a vessel belonging to one of his brothers, and so performing two voyages to Brazil. Ashore once more, he joined a broker's office in Liverpool, and whilst there was specially chosen out of a large staff as the man to take charge of a fleet of ships on a guano quest on the coast of Patagonia. Having determined on a suitable rendezvous for his ships, he sailed for the River Plate in a handy vessel, and from Monte Video south- wards minutely searched and examined the coast, chiefly in boats, as far as Santa Cruz, near the Straits of Magellan. At Sea Bear's Bay, in lat. 48deg. S., he landed his men, and pitched his tents, &c. After 10 months of extreme hardship and risky adventure on the coast in open boats, and loss of many men from scurvy, he loaded up all the ships sent to him, and returned to the River Plate. While there he met Captain Hotham, R.N., of H.M.S. Gordon (afterwards Governor of Victoria), and also saw Garibaldi, who was then making himself famous by his daring adventures against the enemy, though with inadequate means. (There was war going on in the river at the time.) From Monte Video he returned to Brazil, where he opened a direct trade with Russia, by shipping the first cargo, of sugar and cotton from Pernambuco to St. Petersburg. For so doing the Emperor Nicholas allowed his vessel (the Urgent), belonging to his brothers, trading under he name of N. Maine and Sons, to enter Russia free of port charges. Shortly after this Nicholas Maine went ashore, spending three years in a Liverpool brokers office, when, sailing again as super cargo, he went on a trading voyage to Chili and Peru. He was present at Panama for six months during the rush to California, and crossed the isthmus on muleback and by canoe, a severe journey in those days. Thence he went to Jamaica, his ship's company carrying with them the cholera, which decimated the population. Then home again, visiting the United States by the way. After another year in Liverpool, he sailed again for Brazil, at one day's notice, bought a cargo of coffee at Rio Janeiro, took it to San Francisco, and settled there, where he had three years of a most exciting life — 1851-2-3 —also making speculative voyages down the coast to Mexico and Nicaragua, at which latter place he took the fever and so on to the South Sea Islands, where he suffered shipwreck, and thence on to Chili. He arrived in Melbourne from New Zealand in 1854; made one more voyage to Chili (his last venture at sea), and on his return sold his vessel. After refitting a dismasted clipper ship, called the Flying Arrow for his brother Crawford, with what was considered in those days unusual dispatch, when the port had not many conveniences for the purpose, he quietly went again into harness ashore. He managed Mr. T. S. Martin's large business in Melbourne for five years, till he broke down, from excessive work and anxiety. After winding up the business, he sailed for England in 1862, and idled at home, in Italy, and other parts of the Continent till, his health being restored, he returned to Melbourne in 1867, and went to Queensland to buy into a station along with his brother and others; but, not being satisfied, came back to Melbourne, and began to work as a mercantile broker. Soon after this he was induced to apply for the resident secretaryship of the Australian Mutual Provident Society, and got it in 1868, though, at the time, several professionals thought him unfit, and prophesied failure. He retired after a long term of eminently profitable business transactions in 1895, owing to a rule of the society to retire secretaries at the age of seventy. He accordingly left on the 1st January, 1896, after twenty-seven years' service unbroken by a single holiday, save for a trip to Europe in 1891. A letter was written him by Sir Joseph Abbott, chairman of the board, in which he said:- "I need hardly assure you that the board is extremely sorry that the, society is obliged to lose your services, which have been so highly appreciated by us during your long connection with the society," and enclosed a grateful resolution passed by the board." Margaret Isabella Maine was born in 1871 and was the only daughter of Nicholas Maine. In 1897, she married Edward Walter Outhwaite, a layer from New South Wales who had studied at the University of Melbourne. Edward was the brother of Arthur Grenbry Outhwaite, husband of artist Ida Rentoul. Margaret and Edward had three children: a son, Maine Outhwaite and two daughters, Helen Margaret and Jocelyn. The pews on the left side of the nave have been moved to make room to a baby grand piano (date tbc.) therefore 2 of them have to be moved elsewhere in the mission and the pew front has been brought backwards..gifts, st peter chapel, pews, edward walter outhwaite, margaret isabella outhwaite nee maine (1871-1964), arthur grenbry outhwaite (1875-1938), nicholas maine (1826-1915), heritage listed, gifts-1917, kneelers, genuflection, praying

Town Hall, Young Men's Christian Association of Bendigo Orchestral Society. Orchestral Concert, Town Hall, Bendigo. Wednesday, 30th, 1923, at 8pm. Conductor: Frank Grose. Assisted by: Lily Jackson, Soprano. Edith Lansell, Contralto. Muriel Boldt, Pianiste. William Cahill, Baritone. Mabel McGauchie, Accompaniste. Orchestral Society. Hon. Sec.: Thos. Shambrook. Pirates of Penzance: Romanza Scenza, Arabesque No. 2, Air De Ballet, Death and the Maiden, Sapphic Ode, Let me Love Thee, Russian Boatman Song. William Tell: O love from Thy Pow'r, Scherzo in Bb Minor, Abide with Me, Rock of Ages, Time was I Roved the Mountains, Eyes that used to Gaze in Mine, Invitation Vocal Valse, Coronation march. Bendigo YMCA Orchestral Society. First Violins: Miss Myrtle Knight, Agnes McNair, Olive Hannaford, Winnie Pithie, Louise Bolton, Louise Downie, Ruth Spier, Alison Smalley. Mrs. Grant, Swift. Second Violins: Mr. J E Fitt, A Richardson, Rex Matthews, Miss Lily Campbell, Elsie Stemmer, Myrtle Phillips, Alma Doxford, Evelyn Miles, Elva Hesse, Winnie Hobson, Master T Challen, J Watts. Cellos: Madame Dorothy Duval, Miss Maisie Field, Mr. E Minotti, W Ellis, G L Verey. Basses: Mr. J H Melrose, J Lavacombe, R Rule, W Jackson. Flutes: Mr. A E Sayer, R Crawford, Dilworth, Moon. Piccolo: Mr A E Sayer. Oboe: A B Challen. Clarinets: Mr. A B Challen, J Bowman, J McEwan. Horns: A Johnston, H Hilderbrande, J Tredinnick, L Rundle. , Trumpets: Mr. B Bowater, P Reed, N Banfield, A Old. Trombones: Mr. D Collier, H Bolton, W Pain. Euphonium: W Ketterer. Tubas: Mr. A Hoking, W Ketterer. Sassoon: Mr. T Francis. Timpani: Mr. J McLoughlin. Percussion: Mr. J Osborne. Organist: Mr. F C Stuart. Pianist: Miss Mabel McGauchie. Conductor: Frank Grose. President: Barkly Hyett. Treasurer: G W Lansell. Librarian: W J Wearne. Honorary Secretary: Thos. Shambrook. Three concerts per year will be given by the society. Next two concerts in August and November 1923. Subscribers Tickets are 1 pound 1 shilling. This ticket entitles holder to two booked seats for each concert. Picture of Harp with music book, laurel and bird on cover. 4 pages.F. H. Sparkman, Arcade Press, Bendigo.program, music, town hall, ymca of bendigo orchestral society. orchestral concert

The artist’s comment on her work: “The Rowitta”, Flagstaff Hill. Warrnambool: "This boat was the venue for our daughter’s Wedding. The pastel work was undertaken after a beautiful day at Flagstaff Hill in 2012. I enjoyed working with the shadows and the foliage. Carmel Beavis” The popular steam ferry Rowitta is featured in this pastel picture on canvas by local artist Carmel Beavis. The iconic Norfolk pines stand tall against a blue sky, while colourful reflections shimmer in Flagstaff Hill’s harbour. The historic lifeboat “Warrnambool” is dwarfed by Rowitta’s size. Carmel’s daughter celebrated her wedding on board the Rowitta, which had been a very popular exhibit visitors for around forty years. This picture is one of several that were created by Carmel for her family and friends as a memento of the wedding and a way to keep the memory of Rowitta alive. Some of Carmel’s other works illustrate Flagstaff Hill’s 2017 publication “Tearooms Cookbook”. Some of Carmel’s paintings featured in the Tearooms Cookbook, produced around 2017 for fundraising for Flagstaff Hill. The Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrentoand had worked as a coastal trading vessel between Devonport and Melbourne as well as along the southern coast of Australia. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought her to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship ever registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. Early in 2019 Carmel gifted this picture to her friend Shirley Lindsay, who had been President of Wadas Artist Society. A few months later Shirley and her husband John (founding Director of Flagstaff Hill Maritime Village) thought the picture would be appropriate to Flagstaff Hill and presented it with pleasure to the Friends of Flagstaff Hill group later that year.The Rowitta represents the importance of coastal traders to transport, trade and communication in Australia before rail and motor vehicles. The painting is also significant as a record of an exhibit at Flagstaff Hill Maritime Village from is early beginnings. The painting is locally significant for being connected to a local and well known artist Carmel Beavis.Picture, coloured pastel work on canvas in timber frame behind glass. The artist, Carmel Beavis, depicts the steam boat “Rowitta” moored beside the historic lifeboat “Warrnambool” on the lake at Flagstaff Hill Maritime Village. The Rowitta is reflected in the water. The background includes the iconic Norfolk Pine trees. The work was framed by Warrnambool Picture Framing & Gallery in 2012.Signed on front, bottom left “C.L. Beavis”. Artist’s printed label on reverse “The Rowitta, Flagstaff Hill. Warrnambool: / This boat was the venue for our daughter’s / Wedding. / The pastel work was undertaken after a/ Beautiful day at Flagstaff Hill in 2012. / I enjoyed working with the shadows and / The foliage. / Carmel Beavis / Warrnambool. VIC. 3280. / Telephone (03) 5562 1806. / Price: $” Handwritten on artist’s label “250.00” Framer’s printed label “Warrnambool / Picture Framing / & Gallery / 42 Kepler St, Warrnambool 3280 03 5561 5722 / www.wboolframing.com.au” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, pastel, carmel beavis, rowitta steam boat, warrnambool picture framer & gallery, wedding on the rowitta, the rowitta, tearooms cookbook, hobart steam ferry rowitta 1909, tarkarri, speculant, coastal trading vessel, p j mcgennan & co, peter mcgennan, sorrento

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern

The Bentwood chair has been called ‘the world’s most popular chair’. The original Bentwood chair, was designed by German-Austrian cabinet maker and Master Joiner, Michael Thonet (b.1796 - d.1871) and introduced to the market in 1859. Thonet started his business in his home town of Boppard as an independent cabinet maker in 1819. In the 1830’s he began trying to make furniture from glued (laminated) and bent wooden slats. Over the next few years his attempts to patent this process failed in Germany, Great Britain, France, and Russia. He then began using lightweight, strong wood and bending it into elegant, comfortable furniture. The Bentwood technology took Thonet years to perfect. In simple terms, the wooden rods or lengths were wet by soaking or steaming, bent into shape and then held in place until they hardened into the moulded curved shape or pattern. The wood usually chosen for the bentwood chairs was maple or beech. Thonet had revolutionised an older process by industrialising the process. The dowels of wood were cut and prepared as components of furniture, treated by the ‘bentwood’ process, then ready immediately for assembling with very little extra workmanship needed. Thonet held 2 patents for this process, the second one ended on 10th July 1869 and was non-renewable. At the Trade Fair at Koblenz of 1841 Prince Klemens Wenzel von Mettemich was very impressed with Thonet’s furniture, especially the chairs. In 1842 Thonet sold his Boppard business and emigrated to Vienna, and began working, along with his sons, on the interior decoration of the Palais Leichtenstein, for the Carl Leistler establishment. In 1849 he began his own business again, the Gebruder Thonet to include his sons (translated “Brothers Thonet”). He produced the “No. 1” Bentwood chair. He received a bronze medal for his Vienna bentwood chairs at the World Fair in London in 1851, and a silver medal in Paris in 1855. In 1856 he opened a new factory in Koritchan (Moravia), where there were extensive woods of beech trees available for his enterprise. In the next years, five more Eastern European production sites were established in Bystritz (1862), Nagy-Ugrócz (1866), Wsetin (1867), Hallenkau(1867) and Nowo-Radomsk(1880). Thonet’s 1859 No. 14 “chair of chairs” (or “Konsumstuhl Nr. 14” – coffee shop chair no. 14) was the most famous of all of Thonet’s Bentwood chairs. In 1867 he received a gold medal at the Paris World Fair. This new style of furniture making became very popular. Up until 1830 50 million of these chairs had been produced. By the 1870’s Thonet owned offices in almost 20 countries, with sales locations across Europe, in Chicago and New York. In 1889 he set Thonet set up a head office in Frankenberg, Hesse. Bentwood models designed in the mid to late 19th century featured hand-caned or laminated wood seats and were usually stamped with the country of origin. The Bentwood elements were the backrest, seat rim and legs. Typically the seat was covered with ‘bucket’ leather. After the Patent ran out in 1869, companies such as Jacob & Josef Kohn began the production of bentwood furniture.The popularity of the Bentwood chair that was introduced by Michael Thonet in the 1850s is due to its versatility and timeless quality. Its style, whether varnished or painted, suits any room in the house. The lightweight chairs are also popular for café and restaurant seating, as well as for public gatherings. They can be easily moved around and grouped in a variety of ways to suit any occasion.Chair, bentwood, pair of two. Backrest has full length inverted U inside frame. Support rail and wire reinforcing between legs. 3692.01 seat has floral pattern pressed into wood 3692.02 seat is plain (replacement seat). Made by Harnison & Co.3692.01 chair's marks; Label ""HARNISON & CO./ NEUSOL / BUDAPEST" and "WIENER NOBEL" and "(symbol) N inside circle, under Crown" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, domestic furniture, dining furniture, bentwood chair, harnison & co., neusol, budapest, wiener nobel

Item in the collection of Gilbert John Mitchell (Jack) Pre WW2 Jack had service for a brief time in the 38th BN Bendigo No 447203. He enlisted in the RAAF on 31.1.1942 No 410686 age 20 years. Embarked for England on 6.1.1943 for further Training. Posted to 166 Sqd RAF Wellington Bombers then posted Operational to No 466 Sqd RAAF flying Halifax Heavy Bombers. On 18.7.1944 he and his crew in MZ313 were on a mission to attack Railway Sidings at Vaires. This was new Aircraft on 11.6.1944. They were hit by Anti Aircraft shells exploding in the fuselage. The Bomb Aimer Flt/Lt Finley advised the crew to leave by parachute as it was possible the craft could disintegrate. The Pilot Officer R.J. Evans decided to try and get the aircraft back to England, once there they abandoned the craft which was seen to disintegrate in mid air. Both were awarded the DFC. Jack was taken POW and sent to Stalag Luft 1 near Barth on the Baltic Sea for Allied Airmen. The Crew were; Roger John Evans No 410202, enlisted 5.12.1941 age 31 years. Peter Hamiliton Finley No 412294, enlisted 22.6.1941 age 22 years. L.C. Abbott, British/Allied. G.J. Mitchell, POW. Keith Mossman Tranent POW, No 426402, enlisted 20.6.1942 age 19 years 2 months. J.P.T. Finn RAF (Paddy) T.W. Wild British/Allied. On 30.4.1945 The Germans vacated the Camp Jack was in and 2 days later the Russians released them and he was placed in a British Hospital weighing 6 stone. He arrived home in Sept 1945. He stayed in the RAAF No 033130 and served in No 35 Sqd flying VIPs. He was in the Berlin Airlift 1948 - 1949, he also went on exchange with the RAF and flew in No's 24 & 511 Sqd's one a transport the other VIP transport. He was discharged from the RAAF with the rank of Flt/Lt on 6.7.1956 in No 11 Sqd. "Maunder and Sheean". In the article Jacks says that Lofty Maunder always had a joke etc when near the target to settle everyone down. The crew of Halifax LV875 were shot down by a Night Fighter near the target "Terngier" north of Paris 0n 11.4.1944. There was 157 Halifax's on the raid with 10 being lost. The Crew were; John Henry Maunder No 412562, Navigator, enlisted 19.7.1941 age 19 years 10 months. Brian Leo Sheean, No 409855, Wireless Operator, enlisted 1.10.1941 age 18 years. Research shows there were at least 3 more of the Crew KIA. Cecil John Bond No 420433, Pilot, enlisted 8.11.1941 age 19 years 11 months. John Neville Keys No 426112, Bomb Aimer, enlisted 23.5.1942 age 19 years 6 months. Clifford Young Warren No 427047, Rear Gunner, enlisted 26.4.1942 age 19 years 3 months. J.A. White, Flight Engineer, British/Allied. D.K. Messenger, Mid Upper Gunner, British/Allied. Newspaper article Herald Sun 19.4.2002, copy. Article re Jack Mitchell. The article has 6 photo insets 3 of Jack, 2 show Airmen beside an aircraft. The one with 2 Aircrew is "Lofty" Maunder and Jack. The article is mostly about "Maunder and Brian Sheean" mates of Jack. The inset photo of a women in uniform is believed to be "Maunders" English wife who he had married previously. Maunder and Sheean were KIA. "FLY THE FLAG FOR A MATE"newspaper, article, 466 sqd

Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern

Eric Holloway began spot milling timber at age of 17. He borrowed fifty pound from an uncle in 1934 to purchase a McCormick Deering tractor and saw bench. He went from farm to farm cutting timber for farmers. For a time, he worked on Shelley Station spot milling with WS Walker and Son. In approximately 1946 Arthur and Eric Holloway established a saw mill at Shelley. Another brother Ernie, a builder and returned soldier, worked with them from time to time. Using timber sawn in the mill he built eight basic houses for the mill workers. The brothers employed many migrants: - Yugoslav, Czechs, Russians, Ukrainians, Serbs as well as other hardworking people. This meant there were families, so Ernie also built and furnished a school at Shelley. Application was made for a teacher from the Education Department. At the Shelley mill the workers used ex-army blitzes, GM trucks (for carting logs) army ducks and a centurion tank for parts. The timber from the mill was trucked to Albury and Wodonga, customers being FA Stowe and Mates Timber. The army was also a big customer with Holloways supplying timber for the army huts that were built at Bandiana. A timber mill that had been built at Tallangatta by State Rivers and Water for the purpose of establishing New Tallangatta, was purchased by Holloway Brothers as an extension of their Shelley operation. In 1954 a new mill was built at Granite Flat on the Omeo Highway and the Shelley operation closed. Ernie Holloway was involved in the building of the mill and accommodation houses in Mitta Mitta. The mill workers travelled from Mitta to work each day. Holloways Building Supplies was established at 49 Tallangatta Rd Wodonga at this time. It was established on four house blocks with a little shed, with more land being acquired as the operation expanded. The brothers realized that it would be more profitable to set up their own timber outlet to supply their customers. Arthur Holloway continued to run the sawmills while Eric Holloway concentrated on the Wodonga business. A hardware store, offices and joinery were built as demand continued for building materials. All the timber arriving in the yard from the mill was hand sorted, providing employment for many. With the milling and timber outlets Holloways provided employment for approximately forty staff. The next generation of the Holloway family became involved. A Hyster forklift was purchased which allowed for bulk handling of the timber. Land was purchased in Sanyo Drive where timber was cleated and dried. Select grade timber, F17 dry framing, builders hardware and tools were sold. Holloways endeavoured to be a one stop shop for framing and fitting out of houses. In 1989 the business was sold to Mt Beauty Timbers who later on sold to Dahlsens. The timber mill was decommissioned. The Holloway family retained the ownership of the premises of 49 Thomas Mitchell Drive leasing to Dahlsens until that operation was moved to Albury in 2013. In 2014 the lease land was sold to two local businesses. Leigh Martin Marine purchased the parcel of land adjoining their business. Lester and Son purchased the remaining block and demolished the premises. A funeral parlour was built on that site.These photos are significant because they document the story of an important Wodonga business.A series of coloured photographs depicting aspects of Holloways Building Supplies business in Wodonga.holloways wodonga, wodonga businesses, timber industry

Eight issues of "MMTB News" - The Magazine of the Melbourne and Metropolitan Tramways Board. Two copies of issues 1 to 6 held. Second copy added 31/8/2004. All issues printed with an cream colour paper cover with the rest of the magazine white gloss paper. 2720.1 - Vol. 3, No. 1 - 16 pages, January 1966, with a photo of the Mark VI bus No. 702 on the front cover, notes on Traffic Congestion, motor cars and supermarkets, depot masters, engineering, bus maintenance, sports and social club news. On rear cover includes a photo of a Christmas function with past senior employees - left to right - H. R. Steains (architect), H. S. McComb (Chief Surveyor), Mr. Aird, Mr. P. M. Ireland (Rolling stock engineer), J Fisher (Civil Engineer) and H. A. Warner (Secretary) 2720.2 - Vol. 3, No. 2 - 16 pages, February 1966, with a photo of counting decimal coins, Tribute to the W2 class tram written by Norm Cross, (with photo), Hawthorn Clothing Depot, retirement of Harry Munroe, introduction of decimal currency, donation of 1B bogies to SPER, tramways band, death of Neil Olsen, sports and social club news. See btm2720i9.jpg for image of the Norm Cross photograph. 2720.3 - Vol. 3, No. 3 - 12 pages, March - April 1966, with a photo of Tramways Bowl Tournament presentation on the front cover, Recent developments in public transport in North America, Vera Cruz Mexico, cable cars at Rushworth, sports and social club news and photo of the Melbourne bogies under Sydney tram. 2720.4 - Vol. 3, No. 4 - 16 pages, May 1966, with a photo of W2 321being overhauled at Preston Workshops, change over to decimal currency for accounting machines, "Tram Driver Salutes the L class tram" - written by A. Bailey, Melbourne's New Trams, retirement of Gordon Wilson, sports and social club news. 2720.5 - Vol. 3, No. 5 - 16 pages, June 1966, with a photo of the track relaying in Camberwell Rd with Camberwell fire station in background, Melbourne cable tram routes, opening and closing dates, retirement of G. H. Box, visit of SPER members to Melbourne, memories of Malvern Depot, sports and social club news. 2720.6 - Vol. 3, No. 6 - 16 pages, July - August 1966 with a photo of the view from the St Kilda Junction signal box, more trams for Russia, retirements of 31 Employees, a contest to win an old W2, St Kilda Road Junction box - and how it works - signalling and interlocking, closure of Port Melbourne bus depot, sports and social club news. 2720.7 - Vol. 3, No. 7 - 16 pages, September - October 1966 with a photo of 610 on the Maribyrnong River Bridge, during the SPER tour, "Public Transport in Big Cities" - R. Risson - with photo - see image i10, MMTB Ambulance division, new trams, trams or buses, death of Harry Hood, Chas Samuels, retirement of Jack Ferguson, Reg Maxwell, manufacture of trackwork, cable tram working, sports and social club news. 2720.8 - Vol. 3, No. 8 - 16 pages, November - December 1966 with a photo of a wedding party on a tram (Richards / Fuller), apprenticeship training, Christmas message from the Chairman, tramway canteens, art of rostering by R. Drummond, Wattle Park Chalet, clock and instrument shop at North Fitzroy, tramways band, sports and social club news.Each issue has stamped on the front cover or inside "The Australian Railway Historical Society (S.A. Branch).trams, tramways, mmtb, sper, wattle park, port melbourne, st kilda junction, decimal currency, w2 class, l class, hawthorn

This is the Bridge Section of a ship’s telegraph and is a Duplex Gong model, made by Chadburn & Son of Liverpool. This duplex gong model would sound two signals whenever the navigational commands were given by the ship’s pilot to change the speed or direction. The ship’s telegraph was installed on Flagstaff Hill’s exhibit of the 1909 Hobart, Tasmania, ferry “SS Rowitta” installed in 1975 and enjoyed for more than 40 years. Communication between the ship’s pilot and the engine room in the late 19th century to the mid-20th-century was made with a system called an Engine Order Telegraph (E.O.T.) or ship’s telegraph. The equipment has two parts, the Bridge Section and the Engine Room Section. The Bridge Section is usually mounted onto a pedestal, and the Engine Room Section is attached to a vertical surface. The standard marine commands are printed or stamped around the face of the dial and indicated by a pointer or arrow that is usually moved by a rotating brass section or handle. The ship’s pilot stationed on the Bridge of a vessel sends his Orders for speed and direction to the Engine Room with the E.O.T. He moves the lever or levers, depending on the number of engines the ship has, to change the indicator on the Bridge Section’s dial to point in the new direction and speed of travel. This change causes the Orders to be duplicated on the Engine Room Section’s dial and a bell or bells to signal the change at the same time. The engineer then adjusts the ship’s engines and steering equipment to follow the pilot’s Order. CHADBURN & SON, Liverpool- Chadburn Brothers, William and C.H., were joint inventors and well-established makers of optical and scientific instruments and marine gauges. The firm was granted the Prince Albert Royal Warrant in the late 19th century. In 1870 William Chadburn applied for a patent for his navigational communication device for use on ships. By 1875 Chadburn & Son was producing the brass Engine Order Telegraph in its plant at 71 Lord Street, Liverpool. In 1911 the ship RMS Titanic was launched, fitted with Chadburn & Sons E.O.T. The Chadburn Ship Telegraph Company Limited was registered in 1898 to take over Chadburn & Sons. In 1903 a large factory at Bootle, near Liverpool, and their products were being sold overseas. In 1920 electric-powered telegraphs were developed. In 1944 the name changed to Chadburn’s (Liverpool) Limited. In 1968 the company became Chadburn Bloctube Ltd. In 2000 the company, now Bloctube Marine Limited, was still manufacturing ship telegraphs. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. It was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. It was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, it was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so it was restored back to its original configuration. The vessel represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of ongoing repairs. The vessel had given over 100 years of service and pleasure to those who knew her. This Bridge section of a ship’s Engine Order Telegraph, used with an Engine Room section, represents late-19th century change and progress in communication and navigation at sea. This type of equipment was still in use in the mid-20th century. The object is significant for its association with its maker, Chadburn & Son, of Liverpool, a well-known marine instrument maker whose work was recognised by English Royalty, and whose products were selected to supply similar equipment for use on the RMS Titanic. This ship’s telegraph is connected to the history of the Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The display was used as an aid to maritime education. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Bridge section of a Ship’s Telegraph or Engine Order Telegraph (E.O.T.). The round double-sided, painted glass dial is contained within a brass case behind glass. It is fitted onto an outward tapering brass pedestal with a round base. The brass indicator arrows between the handles point simultaneously to both sides of the dial when moved. An oval brass maker’s plate is attached to the top of the case. The dial’s faces have inscriptions that indicate speed and direction, and the front face and plate include the maker’s details. A serial number is stamped on the collar where the dial is fitted to the pedestal. The ship’s telegraph is a Duplex Gong model, made by Chadburn & Son of Liverpool. Dial, maker’s details: “PATENT “DUPLEX GONG” TELEGRAPH / CHADBURN & SON / TELEGRAPH WORKS / PATENTEES & MANUFACTURERS / 11 WATERLOO ROAD / LIVERPOOL” LONDON / 105 FENCHURCH STREET” “NEWCASTLE / 85 QUAY + SIDE” “GLASGOW / 69 ANDERSON QUAY” “PATENT” Dial instructions: “FULL / HALF/ SLOW / FINISHED WITH ENGINES / STOP STAND BY / SLOW / HALF / FULL / ASTERN / AHEAD” Maker’s plate: “CHADBURN / & SON / PATENT / LIVERPOOL” Serial number: “22073”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, engine order telegraph, e.o.t., navigational instrument, communication device, ship’s telegraph, engine room section, bridge section, rms titanic, chadburn & son, chadburn brothers, william chadburn, chadburn ship telegraph company, chadburns, duplex gong, liverpool, ss rowitta, navigation, marine technology, pilot’s orders, steam power, hobart, tasmania, devonport, tasmanian-built, ferry, steam ferry, steamer, 1909, early 20th century vessel, passenger vessel, tamar trading company, launceston, george town, sorrento, tarkarri, speculant, peter mcgennan, p j mcgennan & co. port phillip ferries pty ltd, melbourne, coastal trader, timber steamer, huon, karri, freighter, supply ship, charter ferry, floating restaurant, prawn boat, lakes entrance

Eight issues of "MMTB News" - The Magazine of the Melbourne and Metropolitan Tramways Board. Two copies of each issue held. All issues printed with an cream colour paper cover with the rest of the magazine white glass paper. 1723.1 - Vol. 3, No. 1 - 16 pages, January 1966, with a photo of the Mark VI bus No. 702 on the front cover, notes on Traffic Congestion, motor cars and supermarkets, depot masters, engineering, bus maintenance, sports and social club news. On rear cover includes a photo of a Christmas function with past senior employees - left to right - H. R. Steains (architect), H. S. McComb (Chief Surveyor), Mr. Aird, Mr. P. M. Ireland (Rolling stock engineer), J Fisher (Civil Engineer) and H. A. Warner (Secretary) 1723.2 - Vol. 3, No. 2 - 16 pages, February 1966, with a photo of counting decimal coins, Tribute to the W2 class tram written by Norm Cross, (with photo), Hawthorn Clothing Depot, retirement of Harry Munroe, introduction of decimal currency, donation of 1B bogies to SPER, tramways band, death of Neil Olsen, sports and social club news. See btm2720i9.jpg for image of the Norm Cross photograph. 1723.3 - Vol. 3, No. 3 - 12 pages, March - April 1966, with a photo of Tramways Bowl Tournament presentation on the front cover, Recent developments in public transport in North America, Vera Cruz Mexico, cable cars at Rushworth, sports and social club news and photo of the Melbourne bogies under Sydney tram. 1723.4 - Vol. 3, No. 4 - 16 pages, May 1966, with a photo of W2 321being overhauled at Preston Workshops, change over to decimal currency for accounting machines, "Tram Driver Salutes the L class tram" - written by A. Bailey, Melbourne's New Trams, retirement of Gordon Wilson, sports and social club news. 1723.5 - Vol. 3, No. 5 - 16 pages, June 1966, with a photo of the track relaying in Camberwell Rd with Camberwell fire station in background, Melbourne cable tram routes, opening and closing dates, retirement of G. H. Box, visit of SPER members to Melbourne, memories of Malvern Depot, sports and social club news. Death of A L Robertson, rostering, sports, Sydney trams, Safety and excuses for accidents. Full pdf copy added 28/8/2019 1723.6 - Vol. 3, No. 6 - 16 pages, July - August 1966 with a photo of the view from the St Kilda Junction signal box, more trams for Russia, retirements of 31 Employees, a contest to win an old W2, St Kilda Road Junction box - and how it works - signalling and interlocking, closure of Port Melbourne bus depot, sports and social club news. 1723.7 - Vol. 3, No. 7 - 16 pages, September - October 1966 with a photo of 610 on the Maribyrnong River Bridge, during the SPER tour, "Public Transport in Big Cities" - R. Risson - with photo - see image i10, MMTB Ambulance division, new trams, trams or buses, death of Harry Hood, Chas Samuels, retirement of Jack Ferguson, Reg Maxwell, manufacture of trackwork, cable tram working, sports and social club news. 1723.8 - Vol. 3, No. 8 - 16 pages, November - December 1966 with a photo of a wedding party on a tram (Richards / Fuller), apprenticeship training, Christmas message from the Chairman, tramway canteens, art of rostering by R. Drummond, Wattle Park Chalet, clock and instrument shop at North Fitzroy, tramways band, sports and social club news.trams, tramways, mmtb, carlton control, buses, pcc 980, ballarat, new trams, are, tmsv

Queen Victoria was born at Kensington Palace, London, on 24 May 1819. She was the only daughter of Edward, Duke of Kent, the fourth son of George III. Her father died shortly after her birth and she became heir to the throne because the three uncles who were ahead of her in the succession - George IV, Frederick Duke of York, and William IV - had no legitimate children who survived. Warmhearted and lively, Victoria had a gift for drawing and painting; educated by a governess at home, she was a natural diarist and kept a regular journal throughout her life. On William IV's death in 1837, she became Queen at the age of 18. Queen Victoria is associated with Britain's great age of industrial expansion, economic progress and, especially, empire. At her death, it was said, Britain had a worldwide empire on which the sun never set. In the early part of her reign, she was influenced by two men: her first Prime Minister, Lord Melbourne, and then her husband, Prince Albert, whom she married in 1840. Both men taught her much about how to be a ruler in a 'constitutional monarchy, in which the monarch had very few powers but could use much influence. Albert took an active interest in the arts, science, trade and industry; the project for which he is best remembered was the Great Exhibition of 1851, the profits from which helped to establish the South Kensington museums complex in London. Her marriage to Prince Albert produced nine children between 1840 and 1857. Most of her children married into other Royal families in Europe. Edward VII (born 1841), married Alexandra, daughter of Christian IX of Denmark. Alfred, Duke of Edinburgh and of Saxe-Coburg and Gotha (born 1844) married Marie of Russia. Arthur, Duke of Connaught (born 1850) married Louise Margaret of Prussia. Leopold, Duke of Albany (born 1853) married Helen of Waldeck-Pyrmont. Victoria, Princess Royal (born 1840) married Friedrich III, German Emperor. Alice (born 1843) married Ludwig IV, Grand Duke of Hesse and by Rhine. Helena (born 1846) married Christian of Schleswig-Holstein. Louise (born 1848) married John Campbell, 9th Duke of Argyll. Beatrice (born 1857) married Henry of Battenberg. Victoria bought Osborne House (later presented to the nation by Edward VII) on the Isle of Wight as a family home in 1845, and Albert bought Balmoral in 1852. Victoria was deeply attached to her husband and she sank into depression after he died, aged 42, in 1861. She had lost a devoted husband and her principal trusted adviser in affairs of state. For the rest of her reign she wore black. Until the late 1860s she rarely appeared in public; although she never neglected her official Correspondence, and continued to give audiences to her ministers and official visitors, she was reluctant to resume a full public life. She was persuaded to open Parliament in person in 1866 and 1867, but she was widely criticised for living in seclusion and quite a strong republican movement developed. Seven attempts were made on Victoria's life, between 1840 and 1882 - her courageous attitude towards these attacks greatly strengthened her popularity. With time, the private urgings of her family and the flattering attention of Benjamin Disraeli, Prime Minister in 1868 and from 1874 to 1880, the Queen gradually resumed her public duties. In foreign policy, the Queen's influence during the middle years of her reign was generally used to support peace and reconciliation. In 1864, Victoria pressed her ministers not to intervene in the Prussia-Denmark war, and her letter to the German Emperor (whose son had married her daughter) in 1875 helped to avert a second Franco-German war. On the Eastern Question in the 1870s - the issue of Britain's policy towards the declining Turkish Empire in Europe - Victoria (unlike Gladstone) believed that Britain, while pressing for necessary reforms, ought to uphold Turkish hegemony as a bulwark of stability against Russia, and maintain bi-partisanship at a time when Britain could be involved in war. Victoria's popularity grew with the increasing imperial sentiment from the 1870s onwards. After the Indian Mutiny of 1857, the government of India was transferred from the East India Company to the Crown, with the position of Governor-General upgraded to Viceroy, and in 1877 Victoria became Empress of India under the Royal Titles Act passed by Disraeli's government. During Victoria's long reign, direct political power moved away from the sovereign. A series of Acts broadened the social and economic base of the electorate. These acts included the Second Reform Act of 1867; the introduction of the secret ballot in 1872, which made it impossible to pressurise voters by bribery or intimidation; and the Representation of the Peoples Act of 1884 - all householders and lodgers in accommodation worth at least £10 a year, and occupiers of land worth £10 a year, were entitled to vote. Despite this decline in the Sovereign's power, Victoria showed that a monarch who had a high level of prestige and who was prepared to master the details of political life could exert an important influence. This was demonstrated by her mediation between the Commons and the Lords, during the acrimonious passing of the Irish Church Disestablishment Act of 1869 and the 1884 Reform Act. It was during Victoria's reign that the modern idea of the constitutional monarch, whose role was to remain above political parties, began to evolve. But Victoria herself was not always non-partisan and she took the opportunity to give her opinions, sometimes very forcefully, in private. After the Second Reform Act of 1867, and the growth of the two-party (Liberal and Conservative) system, the Queen's room for manoeuvre decreased. Her freedom to choose which individual should occupy the premiership was increasingly restricted. In 1880, she tried, unsuccessfully, to stop William Gladstone - whom she disliked as much as she admired Disraeli and whose policies she distrusted - from becoming Prime Minister. She much preferred the Marquess of Hartington, another statesman from the Liberal party which had just won the general election. She did not get her way. She was a very strong supporter of the Empire, which brought her closer both to Disraeli and to the Marquess of Salisbury, her last Prime Minister. Although conservative in some respects - like many at the time she opposed giving women the vote - on social issues, she tended to favour measures to improve the lot of the poor, such as the Royal Commission on housing. She also supported many charities involved in education, hospitals and other areas. Victoria and her family travelled and were seen on an unprecedented scale, thanks to transport improvements and other technical changes such as the spread of newspapers and the invention of photography. Victoria was the first reigning monarch to use trains - she made her first train journey in 1842. In her later years, she became the symbol of the British Empire. Both the Golden (1887) and the Diamond (1897) Jubilees, held to celebrate the 50th and 60th anniversaries of the Queen's accession, were marked with great displays and public ceremonies. On both occasions, Colonial Conferences attended by the Prime Ministers of the self-governing colonies were held. Despite her advanced age, Victoria continued her duties to the end - including an official visit to Dublin in 1900. The Boer War in South Africa overshadowed the end of her reign. As in the Crimean War nearly half a century earlier, Victoria reviewed her troops and visited hospitals; she remained undaunted by British reverses during the campaign: 'We are not interested in the possibilities of defeat; they do not exist.' Victoria died at Osborne House on the Isle of Wight, on 22 January 1901 after a reign which lasted almost 64 years, then the longest in British history. Her son, Edward VII succeeded her. She was buried at Windsor beside Prince Albert, in the Frogmore Royal Mausoleum, which she had built for their final resting place. Above the Mausoleum door are inscribed Victoria's words: "Farewell best beloved, here, at last, I shall rest with thee, with thee in Christ I shall rise again." Source: https://www.royal.uk/queen-victoria This picture captures Queen Victoria in her later years. It may well have been painted to commemorate her Golden Anniversary in 1887, or her Diamond Anniversary in 1897.Picture, print, reproduction of a drawing or photograph of Queen Victoria. She is wearing a dark-coloured dress, white headdress and a diamond necklace and earrings. On her left shoulder is the Royal Order of Victoria and Albert, awarded to female members of the British Royal Family and female courtiers. There are four grades or classes of this Royal Order as well as the Sovereign's Badge, which is exclusive to her. Also across her left shoulder, is a blue riband representing the Order of the Garter. The picture is in a medium-coloured timber frame with a white string across the width at the rear. The label says it was framed by Hoy Art, Warrnambool. The signature of the Queen is on the picture but is not obvious since the picture has been re-framed."HOY ART / PICTURE FRAMING / 48 Kepler St, Warrnambool 3280 / Phone (055) 62 8022" Signature (hidden by new framing) "Victoria H.R.S."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, picture of queen victoria, queen victoria, the royal order of victoria and albert, the order of the garter, hoy art

60lbs rail that was used throughout the Victorian rail network. In 1887 Gibbs, Bright and Co. had a contract with Victorian Railways for railway and canal construction and supply of Krupp Rails. Gibbs, Bright and Co were merchant bankers and shipping agents and merchants who where also Directors of the GWR ( Great Western Railway ) and the Ship The "Great Britain" in England Gibbs, Bright and Company had principally been involved in shipping and trading, mainly in the West Indies, but following the discovery of gold in Victoria they established an office in Melbourne and soon became one of the leading shipping agents and merchants in the Colony. They expanded into passenger shipping and soon established offices in Brisbane, Sydney, Newcastle, Adelaide and Perth as well as launching passenger services between England, Mauritius and New Zealand. Gibbs, Bright also held a number of financial agencies from British mortgage, finance and investment companies as well as representing several British insurance companies in Australia. In addition they conducted a growing import business as well as an export business that included livestock, dairy produce, wool and flour. Also the company played a substantial part in the development of Australia's mineral resources, starting with lead in 1895, and later venturing into tin, gold, copper, cement and super phosphates. In Australia, after WWI, many of the larger companies were managing their own import and export so Gibbs, Bright and Company tended to focus its Agency business on smaller companies while expanding their interest into other markets such as timber, wire netting, zinc, stevedoring, road transport, marine salvage, gold mining as well as mechanical, structural, electrical and marine engineering. The Company's shipping interests continued to grow as well and still formed a major part of its business. In 1948 the parent company in England took the major step from tradition when they changed the business from a partnership into a private limited company. The name was the same, Antony Gibbs and Sons Limited, and in practice the effect of the change was very little. Some of the firm's branches and departments had already become limited companies and the formation of a parent company simplified the structure. The Australian operation was in time changed to Gibbs Bright & Co Pty Ltd in 1963. In 1848 Alfred Krupp becomes the sole proprietor of the company which from 1850 experiences its first major growth surge. In 1849 his equally talented brother Hermann (1814 - 1879) takes over the hardware factory Metallwarenfabrik in Berndorf near Vienna, which Krupp had established together with Alexander Schöller six years earlier. The factory manufactures cutlery in a rolling process developed by the brothers. Krupp's main products are machinery and machine components made of high-quality cast steel, especially equipment for the railroads, most notably the seamless wheel tire, and from 1859 to an increased extent artillery. To secure raw materials and feedstock for his production, Krupp acquires ore deposits, coal mines and iron works. On Alfred Krupp's death in 1887 the company employs 20,200 people. His great business success is based on the quality of the products, systematic measures to secure sales, the use of new cost-effective steel-making techniques, good organization within the company, and the cultivation of a loyal and highly qualified workforce among other things through an extensive company welfare system. From 1878 August Thyssen starts to get involved in processing the products manufactured by Thyssen & Co., including the fabrication of pipes for gas lines. In 1882 he starts rolling sheet at Styrum, for which two years later he sets up a galvanizing shop. The foundation stone for Maschinenfabrik Thyssen & Co. is laid in 1883 with the purchase of a neighboring mechanical engineering company. In 1891 August Thyssen takes the first step toward creating a vertical company at the Gewerkschaft Deutscher Kaiser coal mine in [Duisburg-]Hamborn, which he expands to an integrated iron and steelmaking plant on the River Rhine. Just before the First World War he starts to expand his group internationally (Netherlands, UK, France, Russia, Mediterranean region, Argentina). info from The company thyssenkrupp - History https://www.thyssenkrupp.com/en/company/history/the-founding-families/alfred-krupp.htmlHistoric - Victorian Railways - Track Rail - made by Krupp in 1888Section of VR Krupp 1888 Rail mounted on a piece of varnished wood. Rail made of ironpuffing billy, krupp, rail, victorian railways

In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. These cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) These two cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War One the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. Both of these guns are mounted on their original wooden garrison carriages. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria (Conservation Management Plan for Victorian Guns and Cannon, South Western Victoria, May 2008, ref W/F/04)The Warrnambool Garrison has been added to the Victorian Heritage Register H1250 “for its intact battery and guns, a strong reminder of Victoria’s wealth and determination to protect itself from the perceived threat of invasion in the 1880’s.” The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. Cannon. 80 Pounder Rifled Muzzle Loading (RML) Gun on iron carriage and slide, installed in the Battery at Flagstaff Hill’s Fortifications.. Made in 1866 at the Royal Gun Factory (R-G-F), Woolich, England. Gun Reg No - 23. Flagstaff Hill Garrison Gun 1 (Gun No. 1) Insignia of the Royal Engineers, and the weight of the gun, stamped on top of the gun’s barrel. There is a brass plate on the side of the gun with the details of 1987 restoration.Stamped on axle cover on side of barrel “R-G-F / No 23 / 1866”. Stamped into the metal on top of the barrel, Insignia of the Royal Engineers; Garter and Motto “HONI SOIT QUI MAL Y PENSE”, surmounted by the Crown, with the Royal Cypher of Queen Victoria “VR” within the Garter. Also stamped on top of the gun are 2 inward pointing arrows above the weight ”81-2-0”. Brass plate “RESTORATION / BY / FIRST YEAR / APPRENTICES / ORDANANCE FACTORY / BENDIGO 1987”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cannon, 80 pounder, rifled muzzle, loading, royal gun factory, woolich