This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so 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 early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

illustrated book with dustjacket. Book has a black cover with title and editor's name embossed in gold on the spine. Front of dust jacket has a grey, white and pale green photograph of a group of nurses (the sisters of the 21st AGH back in Australia following their long journey home from the Middle East, September 1942) Title and editor's name are printed in black ink on the front also. The spine has title editor's and publisher's names printed in white on a black background. The army badge is printed in yellow at the top of the spine, and publisher's logo in multicolour at the base. The back cover has a photograph of a group of army personnel with a truck marked with a red cross and draped with an Australian flag (members from the 2nd Health Support Battalion (Brisbane) made up the new Health Supplementation Team, East Timor August 2022. A summary of the book is printed on the back cover non-fictionWillingly into the fray comprises the stories of sixty-five individual nurses, their voices preserved and their words, often fraught with emotion and mixed in distress at what they have seen, heard endured and railed against, carefully retained. Many of these stories are told for the first time, particularly those of the recent campaigns, peace keeping operations, disaster relief and humanitarian missionsaustralian army nursing service, military nursing-australia

Her Majesty Queen Elizabeth The Queen Mother was the mother of Queen Elizabeth II and the widow of King George VI. King George took the throne in 1936, at which time she became the first British-born Queen consort since the Tudor times. She visited Australia on 14 February – 7 March 1958 to attend the British Empire Service League Conference in Canberra. She travelled to the Australian Capital Territory, Brisbane, Sydney, Melbourne, Tasmania, Adelaide and Perth, as well as many regional and rural areas.black and white photograph, unmounted, original, fair conditionst kilda, st kilda town hall, queen mother, queen elizabeth the queen mother, 1958, wh greaves collection, greaves

The Royal Australian Survey had Field Survey Units located in most States of Australia. Northern Command Field Survey Unit was located in Brisbane. This folder contains technical Instructions for tasks carried out by the Unit from Survey control and data capture through to Field completion. The folder is held together by Chicago screws so that Instructions could be updated when necessary. Instruction No1 Production Data Records Aug 1966 23x pages, Instruction No2 Standard Operating Procedure for B8 Stereoplotting Oct 1967 4 x pages, Instruction No3 Provisional Compilation Specifications 1:100 mapping contouring Oct 1967 (Missing), Instruction No4 Horizontal Control Station Summaries Aug 1972 13 x pages, Instruction No5 Airphotography Mar 1972 8 x pages, Instruction No6 Reconnaisance Station marking and Station Notes Aerodist Operations Mar 1972, 13 x pages, Instruction No7 Field Completion Feb 1973, 7 x pages.A hard green plastic covered manual of 68 x paper pages of typed text diagrams and tables, some fold out Annexes. The pages are held together with two Chicago screwsWhite # "5 " inside front and back coversroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, norther command field survey unit

Part of the 'Mann' collection in the Wodonga Historical Society, used for accounting in the J. Mann & Sons General Store in High Street, Wodonga in 1934-35. J. Mann and Sons was first established as a farm produce store in 1921. The range of products was extended in the 1930s and included groceries and hardware, as well as the first petrol bowser in Wodonga outside the store. After WWII, the premises were extended and the range of products continued to increase. In the 1960s the Mann Family opened a new supermarket in Wodonga, in addition to the hardware business, providing steel, plumbing and industrial supplies, and they employed over 100 people at one stage. With changes in the retail industry, the Mann Family sold the main hardware business to Bunnings and the steel and rural produce business to the Kelly brothers in 2006.Local significance due to its use in the J. Mann & Sons General Store in High St, Wodonga and association with the prominent Mann family. National significance as kalamazoos were manufactured by an Australian company and used in the 1930s for accounting purposes by local businesses.Visible card book or kalamazoo used by the accounts department of J. Mann & Sons General Store, High Street, Wodonga, in 1934-35 for customers with surnames from K to P.Details for each customer provided on individual cards. "KALAMAZOO - ACME / Visible Card Equipment / THE "RAPID SIGHT" METHOD / Kalamazoo (AUST.) LTD. / SYDNEY - MELBOURNE - BRISBANE - ADELAIDE"mann, accounting, financial record, high street wodonga, wodonga, commerce, business, kalamazoo, general store, j. mann & sons

Peter Ball was conscripted for two years National Service beginning on 23.4.1969 Regt No 3796117. Postings, Recruit Training Puckapunyal Vic, Infantry Corp Training Singleton NSW, Infantry Corp Reinforcement Wing Ingleburn NSW, Jungle Training Centre Canungra QLD 3 weeks, ankle injury 5.9.69, return to Ingleburn, Basic Signals Course Ingleburn 5.11.69 - 10.12.69, Volunteered for service Vietnam, passed medically fit, fly out 3.3.1970 for Saigon, posted to Reinforcement Wing Nui Dat for 3 weeks acclimatisation training, posted to 6 Pl B Coy 8 RAR 25.3.70, embark HMAS Sydney for Australia 1.11.70, disembark Brisbane 12.11.70, posted to Enogerra Barracks Brisbane, posted to Vic Barracks Melbourne 5.3.1971 for discharge, posted to Sale 2 weeks with CMF fortnight Camp, discharged from the Army 23.4.1971 with the rank of PTE. Enlist in the CMF Geraldton WA in A Coy 16 RWAR on 24.6.1978 same Regt No, discharged re interstate transfer on 18.2.1981, rank L/Cpl.Pay Book No C 23443, brown covers with green tape on binding, print in black on front, hand written in black texta, white label on with hand writing in blue pen, 40 pages with entries in blue & red hand writing, large purple “DISCHARGED” stamp on many pages, rear page has a yellow envelope taped on with 3 X “Pay Book variation Authority” slips in, off white, layout in green, typing in black with red hand written items on, rear page cover has photo of a soldier with name, rank and date onFront cover in texta, “3796117 BALL PETER CHARLES”, date stamp on page 1 “23 APR 1969”, rear page photo date has ,”26.4.69”. Pay book Variations Authorities dated, “14.12.70, 14.12.70, 15.12.70” pay books, administrative record, soldiers

Illustrated book with dustjacket. Book cover and dustjacket are identical in appearance. The front cover has a coloured photograph of the Honour Roll and domed ceiling in the Memorial Alcove adjacent to the Geelong Art Gallery. Under this is a black background, with the title printed in white and yellow, a red poppy, and the authors surnames printed in white. Title and authors names are printed in similar colours on a black background on the spine along with a red poppy and the publisher's mark. The back cover has a black background with four small coloured photographs: the Cenotaph, St Martin's Place Sydney; Australian War Memorial, Canberra; interior the Brisbane shrine of Remembrance; the War Memorial Adelaide. under this a summary of the book is printed in whitenon-fictionThis is a rich mosaic of a book about the persistence of memory. In a distinctly original and captivating way, it brings together photographs, both old and new, ephemera and one hundred stories as it commemorates one hundred years since the outbreak of World War One. it shows how the terrible sacrifice of young Australians has reverberated across this country and through time, and how the memories still resonate in so many different ways, and in so many different stories. Selected for their unique design, their grandeur or their simplicity, the one hundred memorials have been arranged alphabetically and represent the diversity of memorials to the ANZAC spirit from each state and territory across the nation world war 1914-1918-centennial celebrations, world war 1914-198-monuments-australia, world war 1914-1918-personal narratives, war memorials-australian, monuments-australia