Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and White photograph of Thomas Pearce. Taken on July 22nd 1878 by the Photographic Society of Victoria. Registered copyright July 24th 1878. Reverse has printed maker’s information.Printed green text “PHOTOGRAPHIC / SOCIETY OF VICTORIA / MELBOURNE / REGISTERED COPYRIGHT / JULY 24th 878” and “NONE ARE GENUINE UNLESS WITH / SIGNATURES THUS” and “PRESIDENT / VICE PRESIDENT / SECRETARY” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, thomas pearce, loch ard, photographic society of victoria

Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and White photoghrap of Thomas Pearce. Taken by the Photographic Society of Victoria. Registered copyright July 24th 1878. Reverse has printed maker’s information and a white adhesive label with hand writing on it.Label has hand writing “F-Ph 55/2-74” Printed green text “PHOTOGRAPHIC / SOCIETY OF VICTORIA / MELBOURNE / REGISTERED COPYRIGHT / JULY 24th 878” and “NONE ARE GENUINE UNLESS WITH / SIGNATURES THUS” and “PRESIDENT / VICE PRESIDENT / SECRETARY” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photoghrap, thomas pearce, photographic society of victoria, loch ard shipwreck

This design of ink bottle was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf ink bottle. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use replacing the quill or dip pen. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen, and candles, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy that had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost families in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce, and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefact's have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.This ink well is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefact's from Loch Ard and its collection is significant for being one of the largest accumulation of artefact's from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Stoneware penny Ink bottle ironstone salt-glazed, stoneware cylindrical shape with small mouth and squat neck, broad shoulders brown colour, . with light coloured encrustation spots.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, penny ink well, writing equipment, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, ink bottle, dip pen, ink, hand writing, business, vintage, dwarf ink

One of 15 A3 sheets of copies of postcards on each page. Shirley Jones Collection.Copies of Postcards: Left side from top to bottom: 1 & 2. Main Street, Cowes. 3. Rural scene nears Cowes. 4. View of Newhaven from San Remo. Right side from top to bottom: 1. Three men sitting on the Cowes Pier - Baths in the background. 2. Coastal scene at Cape Woolamai. 3. Newhaven Pier. 4. Granite Quarry at Cape Woolamai. Left side from top to bottom: 1. "Main St Cowes". 2. "Main St Cowes". 3. "Scene Near Cowes". 4. "Newhaven from San Remo Phillip Island". Right side from top to bottom: 1. "Phillip Island from Cowes Pier". 2. "Phillip Island - Cape Woollami - Home of Mutton Bird". 3. "Phillip Island - Newhaven San Remo in distance". 4. Phillip Island - Granite Quarry Cape Woolamai".main street cowes phillip island, rural scene phillip island, views newhaven, cowes pier phillip island, coastline cape woolamai, granite quarry cape woolamai, shirley jones collection, thelma astbury

Displayed in History House.Portland sign. Mounted in (bird-eye) wood frame.

Moira Bird Oliver (nee Good) daughter of Rev Good of St Jude's Carlton first met Frank Oliver circa 1915. They were engaged for some 7 years while Frank did wartime service and then on return to Melbourne completed a Theology degree at Trinity College and was then ordained. They married on the 18th of July 1925 at St Jude's Church in Carlton. Frank Oliver was then naval chaplain on the HMAS Platypus. After various postings the married couple eventually arrived and were appointed to the Chaplaincy to the Mission to Seamen based at 717 Flinders St from 1930-1960. The Olivers weathered many significant issues between 1930 and 1960, a depression, WW2, strikes and waterfront unrest in the 1950s and financial struggles resulting from changed shipping patterns. This photograph was gifted by a descendant who told us that Mrs Oliver was a very enthusiastic photographer. Mrs Oliver was a well loved and respected woman and is memorialised by a window in the Mission Chapel. It is possible she is one of the many anonymous photographers who contributed various photographs especially of the 1930s and forties that make up a substantial part of the Mission Heritage Collection. Mrs Oliver died in 1969 see elsewhere this database for memorial plaque and window.Mounted studio b & w photograph portrait of a bride in white dress and trainpadre oliver, reverend good, st. jude's church, reverend frank leslie oliver, moira bird good, moira oliver, hmas platypus, royal australian navy, r.a.n. chaplain

Small monochrome photograph of birds, mainly chicken, on the deck of a shipWritten in pencil "12"food, fowl yard, chicken, ships, cooking

Padre Oliver served at the Seafarers Mission from 1930 to 1960.One of the longest serving Padre's at the Mission in MelbourneSmall rectangular (landscape orientation) black and white photograph depicting Padre Oliver and his wife, Moirapadre oliver, frank oliver, moira bird

frank oliver, moira bird oliver, andrew kent

The illustration published in the Illustrated Australian News (Melbourne, Vic. : 1876 - 1889), p. 144, on 2 September 1885, depicts Sandridge now Port Melbourne in 1885 from a seamen's point of view on board a ship.This engraving is a rare depiction fo the Bethel church as there is no early photograph. The Sailors' Rest is located at the back. In 1887, the church was demolished to erect the building still standing on the corner of Nott Street and Beach Road.Copy of an engraving depicting a sailor sitting on the mast of the ship and looking at the shore from the sea. A Bird's-eye View Of Melbourne From Sandridge.nott street, sandridge, melbourne, port melbourne, beach road, seamen, ships, sails, sailing ships, customs house, bethel church

A GLOBAL PERSPECTIVE Before the increase of air transport, everything that arrived or departed from Australia did so via the ports and wharves. The Mission to Seafarersis not a Victorian initiative, but rather a global network that currently operates in over 260 ports worldwide, assisting over 1.3 million seafaring men and women each year. The importance of the Mission’s role is demonstrated in the Chaplain’s Report 1947, which notes that ships and their crews are: “...inextricably linked with the well-being of Australian industrial and economic life... This, in turn, means that you cannot escape some share in responsibility for their welfare.” This window, titled ‘Noli Me Tangere’, was installed in memoriam of Moira Oliver, the wife of the Reverend Frank Oliver, chaplain at the Mission 1930-60, and whose dedication in life and service to the welfare of seafarers was inspirational to many.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Moira Bird Oliver, wife of Padre Oliver , a photograph of Padre Oliver listing a ship and a photograph of sailors playing tug-of-war during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Mission to Seafarers' chaplain Frank L Oliver, visiting a ship whilst in port, c1950s BELOW: The crew of the motor ship Nyhaugin a tug-of-war with the crew of the SS Madgeburg at the 1926 Boxing Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, moira bird oliver, moira bird oliver (nee good), padre frank leslie oliver, picnic, tug-of-war, flinders street, catherine mclay, arthouse

Liardet, W. F. E. (Wilbraham Frederick Evelyn), 1799-1878 depicts the busy port of Melbourne showing many types of ships and the Bethel Church built in 1860 on the Custom House land. The church replaced the Bethel ship which sank in February 1860.This watercolour along with the Francois Cogne print from 1863, "Sandridge from Hobson's Bay, and the engraving "A Bird's-eye View Of Melbourne From Sandridge" dating from 1882, is a rare depiction fo the Bethel church. In 1887, the church was demolished to erect the building still standing on the corner of Nott Street and Beach Road.wilbraham liardet, sandridge, port, ships, port melbourne, hobsons bay, bethel church, reverend kerr johnston, 1812-1887, missions to seamen, 1862, customs house

Birds on overhead wires, Santon Street Greensborough.Digital colour photographsbirds, santon street greensborough

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of a standing male and four enlarged birds. The male figure is positioned on the right side and wears a long black coat and a black hat with 'HD' on it. The birds are predominantly on the left and are (from top to bottom) green parrot, blue duck?, yellow swan, and purple bird. The background is a rust colour with blue detailing.Front: A Gee '83 FAWTHOP LAGOON PORTLAND 1983 Back: 18

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee residency 1983 and 1984Laminated screenprint with two birds (wrens) in the foreground. The birds sit on a branch with multi-coloured leaves and flowers. The background features a coastline with breaking waves and a light blue sky.Front: 5/11 (lower left)(pencil) Remember "Wren" it was like this? (lower centre)(pen) Signature (lower right) (pencil) Back: 5

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of outlined figures of two women and two birds over a coloured patchwork background. Female figures are sitting up with their head turned to the right and left hand across their chest. The background patches are blue, yellow, red and grey.Front: (no inscriptions) Back: 41

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of several birds (gannets). In the foreground is a white seated bird with a peach coloured head. Behind this bird are seven standing birds and one seated. The birds are printed on dark blue background.Front: Leanne Hollis (lower left) Back: 21

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Screenprint of a standing male and four enlarged birds. The male figure is positioned on the right side and wears a long black coat and a black hat with 'HD' on it. The birds are predominantly on the left and are (from top to bottom) green parrot, blue duck, yellow swan, and purple bird. The background is a rust colour with blue detailing.Front: A Gee '83 FAWTHOP LAGOON PORTLAND 1983 (printed on print surface in black ink) Back: (no inscriptions)