Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a double storey, white rendered brick house with unpainted variegated brown brick features. Other features include a dormer window, tiled roof, porch with arched entrances, established garden beds, brick paving and an unfinished brick wall beside the drive leading to the garage at the rear.No3murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, gloucester court, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, brick features, dormer windows, arches, brick fences, garages (private)

Captain Robert Ure Bain was Adjutant to Lt. Col. Bush, POW Group Commandant from 1942 - 1947. He was chosen to be one of the Australian Army officers who escorted the German POW's back to Germany in January 1947. A German POW and former member of the Afrika Korps made the item and donated it to Robert.Afrika Korps banners, embroidered, one piece of material. Large hemmed square of white/ cream cotton material embroidered with two unfinished Afrika Korps banners. Line drawn around both, to indicate edge/cutting point/unfinished embroidery point. The photograph show banner 1 which has a palm tree & swastika (emblem of the Afrika Korps). Swastika has been left outlined in pencil but not embroidered, probably so as not to create trouble by displaying the now banned swastika: Banner 2 has red stylised German eagle over the number 8. Also in picture is a model of an aeroplane and a framed coat of arms with Braunschweig (a place in north west Germany otherwise known as Brunswick).Banner 1: Afrika Korps (pink lettering); 1941 (light blue lettering). Banner 2: Zullighau (brown/gold lettering); 4. KOMP / M. G. BATL. (green lettering). (Number 4 company of the Machine Gun Battalion); framed coat of arms "Braunschweig"afrika korps, internment camps, camp 13, garrison, military, handcrafts, embroidery, captain robert bain, german pow's

Five swingle trees hinged together. Straight lengths of wood of varying lengths attached to each other through U-shaped metal fittings. Top piece of wood is the longest, and connects to shorter lengths at the distal edges, with the attachment point on the latter being in the centre. Unpainted and unfinished with flecks of white paint. farm machinery, swingle tree, horse drawn, churchill island

Clothing. Cream coloured unfinished collar or yoke. Triangular shaped piece with fabric borders and filled with strips of fabric (1cm wide). Stitched into a diagonal lattice pattern. The spaces between the lattice are filled with pink embroidered web patterns. The two short edges are trimmed with 3 cm lace with scalloped edge.costume, male, triangular collar/yoke

Textiles, yellow cotton cushion cover. One side overlayed by tapestry weave fabric. Drawn thread work has created an all over 12 X 12 pattern of 3 cm squares. Each square has an embroidered wheel spoke pattern of yellow embroidery cotton. Machine made. Unfinished.textiles, domestic, cushion cover

Unlined booklet of handwritten notes of nature observations of the birds, animals, reptiles, amphibians, fish, crustaceans and insects. Includes an introduction by A. D. Hardy. Also typed notes of the booklet with annotations by the leading scientist from the Phillip Island Nature Park. Dr. Peter Dann.non-fictionNotes on local flora and faunaanderson family, mary potter, animals, birds, flora, fauna

Photographic reproduction of woodcut drawing of the building of the entrance and map above of location.Black and white photograph of a woodcut showing dredge working between timber constructed piers on entrance from the lakes to the ocean Bass Strait. Piers unfinished, timber lying around, sand in the entrance. Map above showing position of the lakes, old and new entrances, southern ocean and sand dune vegetation. Lakes Entrance VictoriaA woodcut depicting the making of the Lakes Entrance.public works, dredging, houses, waterways

This photograph is of the construction of the first road bridge over the Genoa River - 1915. Before today's timber truss and concrete bridge was constructed between 1926-1928 by contractor J.T. Noble Anderson, two earlier bridges crossed the Genoa River at this location. They provided crucial links in the Princes Highway route from Melbourne to Sydney. The letter on the back of the postcard was written by Gordon ? to Alex ? on 2nd October 1917. "this represents the opening of Genoa Bridge. Mrs Alexander cutting the ribbon and Mr Martin holding it at the other side. Did most of the speaking. The gent holding the roll of paper is who came to open the bridge. I can't think of his name. Hubert is standing up at the right / Gordon " This is a pictorial record associated with the history of Genoa in East Gippsland.1100 -A large black / white photograph on a cream coloured buff card. It is of an unfinished bridge with men working there. A small rowboat can be seen on the far side of the river. 1100.1 - A photograph / postcard of the opening of "Genoa Bridge 1917". There is a ribbon stretched across the timber decking road in front of a group of people. 1100.2 - A black / white photograph of a road bridge across a river.on back - "Princes Highway - the 1st bridge over the Genoa River - 1915" on back of 1100.1 is a hand-written letter.genoa-bridge princes-highway-east-gippsland

Handmade booklet of black and white drawings. Three pages of heavy brown paper stitched together on short side with cotton thread. The booklet was disassembled for one page to be used in a display. Pages remain separated. The first page has a drawing of a standing dark coloured horse. Beneath the drawing is the word 'ARABIAN". 0453 is written in one corner. In the background is another horse with rider riding away. On the reverse side of this page are some geometric patterns. The second page has a black and white drawing of two ladies in a paddock observing a bull in the distance. They are surrounded by long grass and flowers. On the reverse are several random unfinished sketches. The third page has a drawing of Thos. Strachan's Vineyard, Axedale, 1884. The drawing includes a weatherboard house with a verandah, and a barn close by. Three chimneys are visible. On the reverse are random unfinished sketches. george harris, axedale, drawing, sketches

Short sleeve khaki coloured shirt with two button down breast pockets, two plain khaki epaulettes on either shoulder fastened with a light brown coloured plastic button. Six buttons fasten the shirt down the centre front, down to an unfinished, overlocked hem. Patch on left and right shoulders depicts three downward pointing chevrons in brown and white embroidery thread.dress uniform, australian defence force, shirt

Neck tie issued to "397827".1. Shirt - light khaki colour polyester/cotton fabric. Collar, shoulder epaulettes, short sleeves, patch pockets with button down flap. Beige plastic buttons. White colour cotton fabric manufaturers label - inside below collar. 2. Necktie - khaki colour cotton knit fabric with unfinished ends, Insect damage noted. White colour cotton tape handsewn to necktie.Manufacturers information on label - black ink print. 1. "ADI/ VIC 1991/^/ SIZE 40/ 8405-66.133.5955/ SERVICE NO./ NAME/ 65% POLYESTER/ 35% COTTON/ DO NOT BOIL OR WRING/ MACHINE WASHABLE/ DRIP DRY, IRON LIGHTLY/ WITH WARM IRON. 2. Cotton tape - HANDWRITTEN IN BLUE INK PEN "397827"uniform, army, shirt, necktie

The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Eighteen typed and handwritten pages, with a title pages 'Graduation of Nurses - speech' written in blue pen. The following thirteen pages are typed, the rest in blue pen. The typed speech appears unfinished. Speech in a sequence of notes dated 1964. The speech deals in detail with the history of the nursing profession.bendigo, council, speech notes, norman joseph oliver , councillor norman oliver. mayor of bendigo. nursing.

Letter to Robin Boyd from Lesley Murray, Public Affairs Department, Royal Institute of British Architects enclosing the RIBA's printed program for 1971-72 session. It contains a session on 30 November titled 'A Night at the Opera: a commentary on the architectural scene including the Sydney Opera House' to be presented by Robin Boyd. Robin Boyd died on 16 October 1971. The manuscript for this lecture was unfinished at Robin's death in October 1971 (see item D506). It was published in 'Architecture Plus', 'Architecture Plus', Vol.1, No.7, August 1973. Letter plus enclosed A3 size poster with RIBA Programme for 1971-72.

Brown leather cylindrical shaped gaiter with one leather strap for fastening. One strap is attached to the lower edge of the interior with a metal pin. This crosses over the lower exterior and passes through a leather loop at the front. The strap then wraps around the gaiter and passes through a second leather loop at the front. This strap appears to pass through two rectangular cut out holes. The edges of the gaiter are unfinished and all elements are affixed through metal pins rather than stitching.Stamped in black ink on interior is the word "WONDER" alongside other illegible markings.legging, gaiter, first world war

Brown leather cylindrical shaped gaiter with two leather straps for fastening. One strap is attached to the lower edge of the interior with a metal pin. This crosses over the lower exterior and passes through a leather loop at the front. The strap then wraps around the gaiter and passes through a second leather loop at the front. This strap appears to pass through a buckle at the top of the gaiter. Another strap is passed through multiple rectangular cut out holes and secures to a second buckle.The edges of the gaiter are unfinished and all elements are affixed through metal pins rather than stitching.Stamped in black ink on interior is the word "WONDER" alongside other illegible markings.legging, gaiter, first world war

This manuscript was intended to be presented as a lecture at the Royal Institute of British Architects Annual Conference in November 1971 (see item D456). This manuscript was unfinished when Robin Boyd died in October 1971. It was published in 'Architecture Plus', 'Architecture Plus', Vol.1, No.7, August 1973. The front cover of the issue has an image of one of the sails of the Sydney Opera House. The lead article is by Robin Boyd titled ‘A Night at the Opera House’ (pp. 48-55). This is a very important article. Note the article is prefaced by remarks by the Editor, but the year of Boyd's death is incorrectly given as 1972, instead of 1971. The published article is in the Walsh Street Archive (item P1276 and P1244).Original manuscript published in 'Architecture Plus', Vol.1, No.7, August 1973.Typewritten, foolscap, 11 pages, extensive edits in pen (not in Robin Boyd's writing)

In 1844 a carpenter called David McLaws secured the lease on the land on the south west corner of James and Bank Streets. He later converted this to freehold by which time he had erected the Caledonian Inn. This building has been continually licensed since that time , and is believed to be the longest continual license held in Victoria. The dormer windows in the part of the building facing James street hide the fact that there is only a skeleton of rooms that were meant to be built there. They were unfinished because the labourers left town when gold was discovered at Ballarat in 1853. An advertisement for the time says “There were four parlours, a bagatelle room, eight bedrooms, a detached kitchen, stable and kitchen garden”. Well known hotel Thought to be the oldest continuously licenced hotel in VictoriaBlack and white photograph of 2 story building with dormer windows on corner hotel, building, james street, bank street, david mclaws

In 1844 a carpenter called David McLaws secured the lease on the land on the south west corner of James and Bank Streets. He later converted this to freehold by which time he had erected the Caledonian Inn. This building has been continually licensed since that time , and is believed to be the longest continual license held in Victoria. The dormer windows in the part of the building facing James street hide the fact that there is only a skeleton of rooms that were meant to be built there. They were unfinished because the labourers left town when gold was discovered at Ballarat in 1853. An advertisement for the time says “There were four parlours, a bagatelle room, eight bedrooms, a detached kitchen, stable and kitchen garden”. Well known Hotel thought to be the longest continuous licenced hotel in VictoriaBlack and white photographhotel, bank street, port fairy, james street, building

This is the only copy, as this edition was never published.64 sheets. This edition of the Williamstown High School magazine was never published. This is an unfinished production copy of page proofs. It commemorates the 80th anniversary of the school and includes Principal's message, student work, many photographs, sports report, teacher farewells, Wind Orchestra trip to Canberra report and other camp reports. A special supplement is also included which has interviews with past students and teachers. Each page is mounted on cardboard and quality of images is not high. It comes complete with spelling mistakes, poor quality photos and quite a bit of empty space. The original page proofs can be found at Box 97.1williamstown high school, 1995, high tide, school yearbook

Black and white photograph of the opening of the tramway along Glen Huntly Road, 13-11-1913. Shows the decorated tram and trams 53 and 63 along with others in the photograph and the unfinished natures of the road surface. Photograph taken near the Elsternwick railway level crossing - has the disc signal for the catch points in the foreground. Has the shop of Rankin and Ev?al chemist in the photograph. A similar Photograph features on page 61 of Ian Brady's book on the PMTT, "Melbourne's Foremost Municipal Tramway". Photograph from the Bob Prentice Collection. Has been removed from sheet with remains of the sheet on the rear with handwritten note on rear.trams, tramways, pmtt, glenhuntly rd, railway crossing, elsternwick, tram 53, tram 63

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. The regulatory pondage on the northern aspect of the village had no water over-spill from the unfinished power station.This rural region in 1950 (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. The couple shown in this photograph would have been employed by the S.E.C. under the Kiewa Hydro-Electricity Scheme.This item is a scanned black and white photograph of a panoramic view of Mount Beauty Village in 1950 (a closed village, entry by pass only). The regulatory pondage has earthen walls but no water.See 0480 (A) -(D) and (F) for other photos of similar postcards"MT. BEAUTY VILLAGE KIEWA HYDRO-ELECTRIC PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth

Eva Fisher was a valued member of the AFB and wished to commission a sculpture for the grounds in the front of Paterson Hall. Noted sculptor Ian Bow was commissioned and created Urban Cycle, a seven panel metal sculpture that follows the development of the local area. Prior to receiving the commission, Ian Bow went through a period of temporary vision loss, which gave him insight into how the sculpture could be appreciated by the blind and low vision community. The different stages are: Harmony - Two pelicans amongst reeds. Intrusion - Frog, kookaburra, mice, fish, lizard and butterfly. Expansion - Doors, windows and roofs under tree canopies. Industry - A factory with large chimney blowing smoke. Density - Multiple boxes, some with figures inside, are crowded beneath a bridge and dome. Decay - Boxes with broken doors and unfinished concrete. Renewal - A church with a Calvary cross over roughened surface.Heptagonal cast aluminium sculpture with seven panels arranged around a central metal pole.Thanks to the generosity of Evangeline Annie Fisher this sculpture, entitled 'Urban Cycle', was created by Ian Bow in 1975 and depicts stages of development of a city through the use of tactile forms. Further information is available at Reception. Vision Australia. Blindness, Low Vision, Opportunity.association for the blind, eva fisher, ian bow, sculpture

1. Shirt - Khaki, polyester/cotton fabric, long sleeves with button cuffs, shoulder epaulettes, two front pockets with button down flap, brown plastic buttons. Cotton manufacturers labels top back of shirt and bottom back of shirt, with black print information. 2. Trousers - Khaki, polyester/cotton fabric, fob pocket, two side pockets, on back pocket with button down flap, metal zipper fly, brown plastic buttons. Three cotton manufacturers labels inside back waistband and back pocket lining with black print information. Polyester lining waistband and pockets. 3. Necktie - khaki cotton knit fabric with unfinished ends. 4. Lanyard - gold cotton cord with knots.Cotton label information - black ink print. 1. Top back of shirt "CLASS - 8405/66 - 017-2261/REGIMENTAL NO./NAME". Bottom back of shirt 'MACHINE WASHABLE/DO NOT BOIL/ DRIP DRY/ WARM IRON/ SALIO/ VICTORIA, 1966^" 2. Back right inside waistband "REGIMENTAL NO./ NAME". Back left inside waistband "Dry clean only/ repress on original creases/ use damp cloth or medium/TO HOT STEAM IRON/ Mending patch attached". Label on back pocket lining. John Sackville - sons/ -Aust - Pty Ltd/ Victoria 1966/^ size 31 RB/ W.31" 1/L 30 1/2/ CLASS 8405/66-018-5518. uniform, army, polyesters

A black cotton tie pouch with embroidered yellow flowers and green leaves on two sides and pink flowers and green and white leaves on the other two. The pouch has a pink satin border and a pink bow on the fold, as well as two interior pockets and two pink ties (one detached). The pouch contains a shadow apron with a floral pattern and a lace border and it also has a separate beaded waistband. There is also a small satin sachet with the letters "J S T" embroidered in pale blue with a scalloped edging on the gold coloured side and a gold and white wreath embroidered on the crimson side with a white zig-zag embroidered edging. Finally, there is an unfinished, purple, velvet pouch with a pale blue satin lining."JST" embroidered in pale blue thread on the small satin sachet.pouches, sachets

This photograph is the same one printed in 1925 soon after 'Bellfield' became a licenced hotel. Unfinished letter on reverse side indicates that at least 2 postcards were sent to the same recipient Reads as: "Belfield Hotel Grampians 3/4/42 Dear Mother, Well here we are once more amongst the Gum trees and believe me it is great to smell the fresh air once more after so long with the Rubber trees. We are right in the hills with towering mountains on the East and West and after the way the wind blew through gap last night, I would not be at all surprised if that were not the method by which the Gap were made. Several times last night we thought the roof would blow off and now I have cut pegs for the window I hope the rattle does not annoy us anymore. It took us until nearly five to get here last night but of course we did not find the time dragging on our hands. At Ballarat we made a rush for some lunch just got it back to the carriage when the waitress came round for"Photograph shows front of building with Wonderland Range behind handwritten letter on reverse side dated 03/4/42Rose Series P 4914accommodation, hotels, bellfield

On a piece of paper subsequently glued near one end of its curved upper face, this length of planed and polished hardwood timber bears the inscription: “A [p]iece of w[r]ec[k] of the Loch Ard wrecked near Sherbroke River”. The timber is carefully worked with rich dark colouring and a uniformly moulded design, suggesting that it was part of a fitting or furnishing that was publicly visible and prominent. If the artefact is what it is declared to be, then it is possible that it formed part of the ship’s railings or companionway stairs. The LOCH ARD was a 1,693 ton, 3 masted barque, built on the Clyde in 1873. In an age of increasing competition for the emigrant passenger trade from steam-driven vessels, special attention was paid to her wooden furnishings and fittings. The Loch Line owners prided themselves on their attractive, distinctively painted, sailing ships. Below decks, where cargo and third class passengers were stowed, was made of iron. But everything above deck, and on show to the saloon and second class passengers, was carved and varnished timber. Captain Daish’s 1878 report for the ship’s underwriters notes “a quantity of general Cargo washed up in a confused mass” in the cove and “a number of Cases, Casks and Bales; also deals and boards floating about in some of the gorges” further west of the shipwreck. Contemporary newspaper accounts also reported a large quantity of cargo and timber washed ashore in the days following the LOCH ARD shipwreck, adding “but those were speedily removed by persons who came down from Port Campbell, Scott’s Creek and other places with carts and pack horses”. The appearance and good condition of this wood artefact, and the aged patina and dated hand-writing style of its pasted on inscription, support the suggestion that it was ‘souvenired’ from the floating debris of the LOCH ARD at or near the 1878 date of its foundering off Mutton Bird Island. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The Loch Ard wreck is of state significance – Victorian Heritage Register S417. However there is a lack of documented provenance that limits the interpretive value of this piece of timber (for example, its potential to interpret nineteenth century souveniring and scavenging from shipwrecks along the south west coast of Victoria). Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A length of hardwood timber, planed and varnished to smooth finish on three sides, with two unfinished tongues protruding from each end (one broken off), possibly from the wreck of the LOCH ARD. The front or upper face is moulded and routed to a regular, linear (skirting board type) design along its entire length, the two sides flat planed. One side contains two inserted dowel rods that have been broken off. The bottom face has not been finished to the same standard. The sample is good quality wood that has retained its density and weight and shows no evidence of having been submerged in seawater for any length of time. Glued on to the upper face of the length of timber near the right hand end is a deteriorated square of paper bearing an inscription. The paper, peeling back and with torn edges, is stuck over an original wood stain but under a subsequent layer of varnish. The faded ink words are indecipherable where paper is missing, but written carefully in an old fashioned cursive script.The inscription on the paper reads: “A [p]iece of w[r]ec[k] of the Loch Ard wrecked near Sherbroke River”. 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, nineteenth-century souveniring, shipwreck scavenging, loch line sailing ships, wood sample

Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice

This barnacled bottle is typical of those used for storing and transporting liquor. It was probably made from 1840s-1870s. The marine barnacles on the bottle support the fact that it was recovered from sea. The bottle was found at the site of an unidentified shipwreck along the coast of Victoria around 100 years from when it was made. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and was in use in the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glassblower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, leaving a slightly flared out heel. The dip mould gives the body a slightly textured and sometimes rippled surface, with the free blown shoulders and neck being smoother and shinier. The mouth of this bottle appears to have been left unfinished, with the glass cut off from the glassblower’s pipe. There is a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of liquor bottles imported for use in Colonial Victoria in the mid-1800s to late 1800s and discovered in the State’s coastal waters. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; black glass, handmade. Applied square band around cut mouth. Bulbous neck, vague mould line around shoulder. Body surface has horizontal ripples, shape tapers inward to base. Shallow pushed-up base with outward flared heel. Cream and white barnacles on sides, base and in mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, dip mould, mouth blown, pontil mark, liquor bottle, ale bottle, 19th century bottle, collectable, black glass, buldge neck, bulbous neck, barnacles

R.M. Serjeant was listed as a mining manager and Joseph Flude as a metallurgist. In 1875 they were both living in Ballarat. The patent number is A.D.1875, 4th March. No 2031. According to the patent the hearth of the furnace is in the form of a cone revolving horizontally. The feed is supplied to the apex of the cone by an archimedian screw. The crown of the furnace comprises a double covering or roof with an intermediate chamber for receiving heated air. The inner covering is pierced to admit of the heated air being brought into contact with the pyrites on the face of the revolving hearth. The discharge of the roasted substance is affected by means of a scraper at the base of the cone. It was claimed that this was a new mode of introducing heated air, and the exclusion of flame during the operation of roasting pyrites. The self-acting charge and discharge of the furnace and the peculiar construction of the hot air chambers, and the use of perforated bricks through which the supply of air is affected were also new. (http://patentsvictoria.net/002031.html) From the Goulburn Herald, 14 September 1878 "A feature connected with the school of mines is the yet unfinished pyrites works. The extraction of the gold from pyrites and the utilization for commercial purposes of other substances connected with pyrites are peculiarly important to Ballarat, because were a simple and inexpensive method devised there are millions and millions of tons of quartz that would then be made remunerative. With this thought in their minds two scientific gentlemen invented the school of mines self-acting rotatory furnace. This, for lack of funds, has not been completed as yet, but the amount in hand for the purpose is daily increasing, and it will eventually be an accomplished fact. It is in contemplation also to erect machinery shops in connection with the school, and it is purposed to con struct a steam-engine to do at once the work of the pyrites treatment and the ma chine room. A model shaft and mine too are being prepared for on the reserve, so that practical mining of the most thorough character may be taught on the ground.'Large indenture on red bordered vellum. The indenture was regarding a patent for the benefit of the Ballarat School of Mines. Letters Patent for an Invention for Roasting Pyrites to be called 'the Ballarat School of Mines self-Acting Pyrites Furnace" to Robery Malachy Serjeant and Joseph Flude. The large document is on a vellum type paper complete with stamps and seal. The document is signed by Acting-Governor William Stawell. Inscriptions and Markings Written on verso: "Date of Patent 4th March 1875 No 2031 Letters Patent for An invention for roasting pyrities to be called "The Ballarat School of Mines Self-acting Pyrities Furnace" to Robert Malachy Serjeant and Joseph Flude Melbourne, Victoriaballarat school of mines, serjeant, r.m. serjeant, robert m. serjeant, flude, joseph flude, patent, barry, redmond barry, rogers, judge rogers, bland, rivett henry bland, john airy, warrington rogers, establishment, indenture, legal, cuthbert, ballarat school of mines trustees, william stawell, john warrington rogers

R.M. Serjeant was listed as a mining manager and Joseph Flude as a metallurgist. In 1875 they were both living in Ballarat. The patent number is A.D.1875, 4th March. No 2031. According to the patent the hearth of the furnace is in the form of a cone revolving horizontally. The feed is supplied to the apex of the cone by an archimedian screw. The crown of the furnace comprises a double covering or roof with an intermediate chamber for receiving heated air. The inner covering is pierced to admit of the heated air being brought into contact with the pyrites on the face of the revolving hearth. The discharge of the roasted substance is affected by means of a scraper at the base of the cone. It was claimed that this was a new mode of introducing heated air, and the exclusion of flame during the operation of roasting pyrites. The self-acting charge and discharge of the furnace and the peculiar construction of the hot air chambers, and the use of perforated bricks through which the supply of air is affected were also new. (http://patentsvictoria.net/002031.html) From the Goulburn Herald, 14 September 1878 "A feature connected with the school of mines is the yet unfinished pyrites works. The extraction of the gold from pyrites and the utilization for commercial purposes of other substances connected with pyrites are peculiarly important to Ballarat, because were a simple and inexpensive method devised there are millions and millions of tons of quartz that would then be made remunerative. With this thought in their minds two scientific gentlemen invented the school of mines self-acting rotatory furnace. This, for lack of funds, has not been completed as yet, but the amount in hand for the purpose is daily increasing, and it will eventually be an accomplished fact. It is in contemplation also to erect machinery shops in connection with the school, and it is purposed to con struct a steam-engine to do at once the work of the pyrites treatment and the ma chine room. A model shaft and mine too are being prepared for on the reserve, so that practical mining of the most thorough character may be taught on the ground.'Letters Patent for an Invention for Roasting Pyrites to be called 'the Ballarat School of Mines Self-Acting Pyrites Furnace' to Robert Malachy Serjeant and Joseph Flude. The large document is on a vellum type paper complete with stamps and seal. The document is signed by Acting-Governor William Stawell.Written on verso: "Date of Patent 4th March 1875 No 2031 Letters Patent for An invention for roasting pyrities to be called "The Ballarat School of Mines Self-acting Pyrities Furnace" to Robert Malachy Serjeant and Joseph Flude Melbourne, Victoriaballarat school of mines, serjeant, r.m. serjeant, robert m. serjeant, flude, joseph flude, richard gibbs, stawell, william stawell, pyrities furnace, philately, statute stamp, seal (victoria), ballarat school of mines self-acting pyrities furnace, ballarat school of mines self-acting pyrites furnace