Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

The Ballarat School of Mines was established in 1870 and was a predecessor institution of Federation University. The first president of the Ballarat School of Mines was Redmond Barry.Half leather bound ledger containing handwritten minutes of the Ballarat School of Mines. Includes: * Foundation Class in Pharmacy and Botany (17/04/1979) * Female Telegraphy Students (12/06/1917)ballarat school of mines, henry richards caselli, w.h. barnard, flude, usher, august hoelscher, warrington rogers, james oddie, robert m. sergeant, ferdinand krause, curator, w.p. bechervaise, james flude, school of mines exhibition committee, james bickett, hugh grey & son, ballarat juvenile industrial exhibition, charles shoppee, g.o. preshaw, alfred mica smith, rivet henry bland, r.w. newman, noble wilson, william burbidge, marie barbour, george hall, susan cahir, mary troy, pharmacy, botany, f.f. bailliere, richard viccars, mary usher, f. pinkerton, pyrites works, james campbell, telegraphy, william bailey, judge rogers, ballarat school of mines certificates, william f. west, j. bryant, henry obree, w.h. odgers, edward debois, james darby, redmond barry, pharmacy board, w.h. keast, george perry, f.w. niven, fedinand von mueller, benjamin trewhella, d. miliken, charles strachan, william wilson, r.a.f. murray, e.p. figgis, charles flude, laboratory, john richards, eyres brothers, john armstrong, h.b. de la poer wall, c.f. crouch, william h. keast, frank pintkerton, hugh grey

Synopsis: “In WW1 Melbourne a pioneering network of women at the Mission to Seafarers called the Ladies Harbour Lights Guild supported sailors who risked their lives at sea. The documentary “Harbour Lights” tells the remarkable story of the Ladies Harbour Lights Guild and the lives of seafarers in early 20th century Melbourne. It focuses on Melbourne’s iconic Mission to Seafarers building, its connection to the Great War and to a unique community of ships crew and volunteers. Featuring Melbourne historians, commentators, archivists and architects and rare footage and images of sailing and social life in and around the ports of Melbourne, this film will inform and connect audiences young and old.” Commissioned by Victorian Government The movie was produced in collaboration with the Mission to Seafarers Victoria. It was directed by Jary Nemo and written and produced by Lucinda Horrocks and Jary Nemo with executive producers Sue Dight and Gordon MacMillan. The film features: Jill Garner Kate Darian-Smith Chris McConville Janet Miller (curator) Gordon MacMillan (former seafarer and board committee member) Narrated by Sharon Turley. Music by Richard Chew (professor of the Arts Academy in Ballarat) The film was presented at several festival in Australia and abroad in 2020-2021. Credits: Narrator Sharon Turley Featuring (in order of appearance) Dr Chris McConville, Gordon MacMillan, Janet Miller, Professor Kate Darian-Smith and Jill Garner With Raul S Gantalao Jr, Escoto Lemuel, Ben Schroeder, Cinda Manins And Ian Fletcher, Yuan Jia, Uma Kothari, Gordon Lansley, William Reed and Cheka Samaranayake Directed by Jary Nemo Written and Produced by Lucinda Horrocks and Jary Nemo Music by Richard Chew Executive Producers Sue Dight and Gordon MacMillan Research advisors Geraldine Brault, Maria Culka, Professor Kate Darian-Smith, Ros Fletcher, Professor Uma Kothari, Dr Barbara Lemon, Catherine McLay, Dr Chris McConville, Janet Miller, Rick Mitchell, Duncan ‘John’ Perryman, Dr Annette Sheill and Peter Taylor Archival photographs, music and footage courtesy of Australian Red Cross Society, Central Highlands Libraries, Internet Archive, National Film and Sound Archive, National Library of Australia, Mackarness Family Personal Archives, Mission to Seafarers Victoria, Public Record Office Victoria, State Library of Victoria and US National Archives Music Harbour Lights. Music by Richard Chew. Westering. Music by Richard Chew. Twilight (Crépuscule) by Jules Massenet. Performed by Amelita Galli-Curci. I Love You So, Waltz from The Merry Widow by Franz Lehár. Performed by Elise Stephenson and Harry Macdonough with Orchestra. Harbour Lights 2. Music by Richard Chew. If I Could Fly by Walking Hearts featuring Jennifer Holm. Courtesy of Epidemic Sound. With thanks to Peter Barrow, Sarah Bartak, Lin Bender AM, Patty Braumueller, Csilla Csongvay, Emer Diviney, Moira Drew, Ian Fletcher, Ajith Jayasuriya, Ben Jones, Patience Jones, Cinda Manins, Madeleine Martiniello, Georgia Melville, Elisabeth Moglia, Tara Oldfield, Lyn Pasquier, Nigel Porteous, Rev’d Onofre (Inni) Punay, Dr Rosalie Triolo, Ben Schroeder, David Simpson, Cheka Samaranayake, Daria Wray, the Helen Macpherson Smith Trust and KPMG. A special thanks to The women of the Ladies Harbour Lights Guild 1906 to 1961 Produced in collaboration with The Mission to Seafarers Victoria Created with the support of The Victorian Government Licensing This film has been released under a Creative Commons BY-NC-ND 4.0 International license Acknowledgement of country Project production and development took place on the lands of the Kulin nation. We acknowledge Traditional Owners and pay our respects to Elders past, present and future. Production company A Wind & Sky Production Copyright with © Wind & Sky Productions MMXIX The film was launched on Wednesday 26th February 2020 at the Mission. Speech by Veterans Affairs. Amongst the guests were current and former volunteers (Maria Culka, Gordon MacMillan, Elisabeth Moglia), curators (Georgia Melville, Jay Miller, Geraldine Brault)18mn documentary mixed of photographs from teh collection and interviews about the Ladies Harbour Lights Guild work during WWIladies harbour lights guild, documentary, jay miller, janet miller, geraldine brault, lucinda horrocks, gordon macmillan, jary nemo, kate darian-smith, jill garner, chris mcconville, sharon turley, richard chew, footage, archive

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time. The Birds of Australia Vol 3 - 4 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890Label on spine cover with typed text RA 598.2 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history, the birds of australia vol 3 - 4

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time. The Birds of Australia Vol 5 - 6 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1891 Label on spine cover with typed text RA 598.2 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history, the birds of australia vol 5 - 6

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time The Birds of Australia Vol 1-2 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890 - 1891Label on spine cover with typed text RA 598.2 BRO Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM" Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarythe birds of australia vol 1-2, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

A detailed account of the story of Lone Pine in Gallipoli and how seedlings were grown from a pine cone brought back by Sgt. Keith McDowell. The author and date of this account is not known but was post 1989. The text says: " Gallipoli Lone Pine Lives On The Gallipoli Lone Pine has become a piece of living history in Australia. Every Australian solider who served at Gallipoli, knew Plateau 400 or ‘Lone Pine’ – the scene of some of the fiercest hand-to-hand combat by Australian in World War 1. The Plateau was distinguished by a solitary lone pine which bore silent witness to the heroism and tenacity of Australians who fought there. Lone Pine was a heavily fortified Turkish trench position, identified by a solitary Pinus Halepensis species commonly known as an ‘Aleppo Pine’. (** NB this has since been corrected and the species is not an 'Aleppo pine' but Pinus Brutia, commonly called Turkish pine) At 5.30 pm on August 6th, 1915, Australians of the First Brigade attacked the Turkish trenches under heavy machine-gun and artillery fire. The Australians found the trenches were roofed over with pine logs covered with earth. They clawed the roofing back and jumped into the trenches below. After savage hand-to-hand fighting the trenches were taken by 6 pm. Attack and counter attack continued until August 10, when fighting at Lone Pine ceased, and the position as firmly held in Australian hands. The six Australian Battalions involved lost 80 officers and 2197 men in the battle for Lone Pine. Turkish deaths were estimated at between 5,000 and 6,000. At Gallipoli during the evacuation, 33 men of the 24th Battalion mounted a gallant action. They were left behind to keep up the pretence that the Lone Pine trenches were still occupied. They destroyed the remaining guns, and embarked before daylight 20 minutes before the appointed time, and less than two hours before a storm blew up which would have made withdrawal impossible. Although the Lone Pine was destroyed in the fighting it lives on today in Australia. Which is where the Legacy Lone Pine story begins. During the withdrawal a soldier, Sgt. Keith McDowell, picked up a pine cone from the original Lone Pine and placed it in his haversack as a souvenir. Sgt. McDowell carried the cone for the remainder of the war and when he returned to Australia gave it to his Aunt, Mrs Emma Gray of Grassmere near Warrnambool. “Here Aunty, you’ve got a green thumb, see if you can grow something out of this”, the late Mrs Gray’s son, Alexander, recalled. But it wasn’t until some 12 years later that Mrs Gray planted the few seeds from the cone, five of which sprouted and grew into little trees. One of the pines eventually died but the remaining four survived. In May, 1933, one was planted in Wattle Park on the occasion of the Trooping of the Colour by the 24th Battalion. On the 11th June 1933, the second tree was planted with full military honours by S G Savige of the 24th Battalion, at the Shrine of Remembrance in Melbourne, where it now shades the well-loved statue of Simpson and his donkey. The late Lieutenant-General Sir Stanley Savige KBE, CB, DSO, MC, ED, was the founder of Melbourne Legacy. Formed in 1923, the Melbourne Legacy Club was the first such Club to be established. On the 18 June 1933 the third tree was planted at the Sisters, near Terang, just north east of Warrnambool. This is the area Mrs Gray’s family lived and the home of several Gallipoli veterans. The fourth tree was planted in the Warrnambool Gardens on 23 January 1934. In 1964 Legatee Tom Griffiths, then President of Warrnambool Legacy, put forward the idea that more seedlings should be raised in the Jubilee Year of Gallipoli from the established trees with the object of planting memorial trees throughout Australia in memory of those who fell in action at Lone Pine in 1915. The project was outlined in a paper presented to the Perth Conference in 1965 and was strongly supported. Two batches of cones were sent to Melbourne, one from the tree at ‘The Sisters’ and another from the tree at the Warrnambool Gardens, and the full cooperation of the (then) Forests Commission of Victoria, was guaranteed by the Chief Commissioner, Mr Benallack. Unfortunately, these cones had been gathered too late as the seeds had already been cast, and the few seeds that survived failed to germinate. However, Melbourne Legacy then undertook the propagation and distribution of seedlings. With the assistance of the Shrine of Remembrance Trustees, permission was granted by the Melbourne City Parks and gardens Curator to harvest a limited number of cones from the 24th Battalion tree at the Shrine and these were gathered by the Forest Commission and after the necessary preparatory treatment were planted in the Commission’s nursery at Macedon. Approximately 150 seedlings were raised from these cones by Dr Grose, Director and Silviculture. Melbourne Legacy’s Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. One the 14 September 1989 further cones were collected with the hope to raise 1000 trees from the seeds. This could not have been done without the invaluable assistance of the Department of Natural Resources and Dr Peter May at the Victorian College of Agriculture and Horticulture in Richmond, Victoria. Thus, Legacy is helping to keep the memory of the Gallipoli ‘Lone Pine’ alive – its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of Australian nationhood and of its just pride, devotion, courage, selflessness and sense of service to others. "The Legacy Lone Pine program helped promote the Anzac story throughout Australia.White A4 paper with black type x 3 pages recounting the story of Legacy's propagation of Lone Pine seedlings. lone pine, gallipoli

The timber display case was presented to Mr Richard Standcombe Harris of Warrnambool (1831-1923). He was a councillor (1875-1891) and predominant businessman. Mr C F Loggin had met Mr Harris while on a trip to Stratford upon Avon in the United Kingdom. Upon his return to Warrnambool, Mr Harris donated the item to the Warrnambool Museum and Art Gallery, (established 1886) where Joseph Archibald was Curator: he catalogued the case in 1894. THE LETTERS IN THE CASE The two letters contained within the display case confirm the authenticity of the oak wood sample. The first letter in the case includes the text; "[Stamped Header on banner] High Street, Stratford on Avon [Hand written] Sept. 22nd / 91. Mr. R. S. Harris, Dear Sir, Enclosed you will find [underlined next 3 words] every authentic proof of the Oak from Shakespeare's House (Birth place). I regret very much Sir, that you made a short-day at S. on A. I should have been delighted to have had the honour, & pleasure, of showing you around our Beautiful Country. You did not give [next 3 words underlined] me or yourself a fair chance. But however I hope that we may again some day have more time to go quietly around. With kind regards, and wishing you, Sir, a pleasant voyage, I remain, Dear Sir, Yours very truly, C.F. Loggin. P.S. A paper will be always acceptable to be as how you Jolly Warrnamboolites are desporting yourselves. “ The second letter includes text; “[Printed Letterhead with stamped impression] The Trustees and Guardians of Shakespeare’s Birthplace Incorporated by Act of 54 and 55, Vict. 1891 Secretary and Librarian - Richard Savage Shakespeare’s Birthplace Stratford-upon-Avon [handwritten] 22 Sept 1891 This piece of oak is a portion of what was cut away at at the restoration of Shakespeare’s Birthplace in 1857-58. C. F. Loggins Chemist 3 High Street Richard Savage Sec. – Shakespeare’s Birthplace Mr C F Loggin was connected with the Shakespeare Trust as the person who had originally donated a scion of Shakespeare's mulberry tree to the "Shakespearean Birthday Committee" in 1842. (The scion that was given to the Shakespearean Birthday Committee, from which the Mulberry sample is derived, still grows today in "New Place" garden.) Mr Richard Savage was the Secretary and Liberian of the then renamed “Trustees and Guardians of Shakespeare’s Birthplace when the display case was given to Mr Harris in 1891 by Mr Loggin. WILLIAM SHAKESPEARE Shakespeare was born in 1564 in Stratford-upon-Avon, where he also grew up. He married at 18 years and he and his wife, Anne Hathaway, had three children: They moved to London where he became successful as an actor, writer, and part-owner of a playing company. He later returned to Stratford and purchased his last home, which he called "New Place" in 1602 where he later died in 1616. For the next 150 years, it was known that there existed a black mulberry tree in the garden. At the time there was a fashion for planting mulberry trees. It was the early 17th century after King James had come to the throne, and he imported tens of thousands of saplings in an attempt to get landowners to start a silk industry in England. Unfortunately for posterity, Shakespeare's mulberry was felled around 1756, by the then owner of “New Place" the Reverend Francis Gastrell, who was apparently tired of continual visits by pilgrims asking to see the tree, so he chopped it down. Gastrell had applied for local permission to extend the garden but the application was rejected and his tax was increased. Gastrell retaliated by demolishing the house in 1759, this greatly outraged the local inhabitants. Gastrell was eventually forced to leave town having provoked the wrath of Stratford residents for committing such an act. Today only the garden remains where “New House" used to stand with a scion from the original mulberry tree still growing there. The wood from the felled mulberry tree at “New House" was purchased by an enterprising local clock-maker Thomas Sharp and he spent the next 40 years or so years making souvenirs from the wood. These became early tourist souvenirs and subsequently developed into a profitable sideline for various other makers, including George Cooper and John Marshall. These objects range from relatively small domestic wooden objects, such as snuff boxes and weight scales to large tea caddies and even tables. C. F. Loggin donated a scion or cutting from Shakespeare's mulberry tree to the Shakespeare Birthplace Trust in 1862, he was a chemist who lived and worked in Stratford. There is a note on the frame of the donation that the mulberry sample is from this scion, research shows that from Richard Savage's diary notes that there must have been a lot of wood taken from that scion over the years which was planted in the garden of “New Place” and is still growing there today. The "Trustees and Guardians of Shakespeare’s Birthplace" (1847 -1964) was formed after the house where Shakespeare is believed to have been born fell into disrepair. Subsequently in 1846 after the death of Thomas Court's widow the last owner. Interest in the house was revived when PT Barnum, the American showman, wanted to buy it and ship the house back to America. In response to this, the Shakespeare Birthday Committee was established (by a private Act of Parliament) with the help of such luminaries as Charles Dickens, the Committee of Trustees raised the necessary £3,000 and purchased the house the following year. Once the Committee had acquired the building, restoration work began. Originally the Birthplace formed part of a terrace with later houses built either side. The first stage in its conservation was their destruction. At the time it was thought necessary to avoid the risk of fire spreading to Shakespeare's birthplace. Reconstruction was carried out by the Shakespeare Trust between 1857 and 1864 that restored the outside of the building to its original 16th-century state. It is from this restoration that the donated piece of oak is derived, originally from a beam that was in the house. Communication from The Shakespeare Birthplace Trust, dated April 11th, 2019, confirms that the pieces displayed in this case have good provenance. The wood samples are significant for their association with the history of William Shakespeare. The display case and its content is significant to Warrnambool local history for its association with the establishment in 1886 of the Warrnambool Museum and Art Gallery. However, it should be noted that the letters of authentication that accompany the wood samples are only applicable to the oak sample. None the less, all the pieces have very good provenance, with Richard Savage's certificate of authenticity for the oak, and the mulberry sample with the letter to Mr Harris from Mr CF Loggin having also been the donor of the scion of mulberry in 1862 to the Shakespeare Birthplace Trust. This scion was then established at Shakespeare's garden at "New Home" that had been demolished by Rev Francis Gastrell in 1759. Two wood samples associated with William Shakespeare, presented in a hanging, timber and glass display case with metal trim around the frame. The case also contains two letters and a label printed on a card that refers to the contents, their origins and the donor. A card label with a printed number and a round adhesive label are attached on the back of the case. The left round section of wood is from a donated scion (or shoot) derived from the original mulberry tree planted by William Shakespeare at his last home "New Place", Stratford-upon-Avon. The outer section is light brown coloured while the centre is dark grain. The right wood sample in the case is a section of oak rafter from the house where Shakespeare was born in 1564. The wood is mid brown with a distinct grain. The included letters, each dated 22/9/1891, refer to only the oak sample. - The letter on the left comprises two handwritten pages from Mr CF Loggin to Mr Richard Standcombe Harris. The paper has the printed letterhead address of High Street, Stratford on Avon. - The letter on the right is a handwritten certificate of authenticity signed by Mr CF Loggin and counter signed by Mr Richard Savage, Secretary and Liberian of the Shakespeare Trust. It is on the printed letterhead of The Trustees and Guardians of Shakespeare’s Birthplace Cardboard label inside the glass case “Shakespeare Section of Mulberry Tree, traditionally said to have been planted by Shakespeare in his garden, “New Place,” Stratford-on-Avon. PORTION OF OAK RAFTER from the house in which Shakespeare was born. (Presented by R S Harris 1891.) Printed label on the back of the case “3 2 “ The handwritten adhesive label “0566” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shakespeare display case, wood samples, oak from shakespeare's birthplace, mulberry from shakespeare's home "new place", stratford-upon-avon, shakespeare's birthplace, the trustees and guardians of shakespeare's birthplace &c., shakespeare trust, shakespeare birthday committee, r.s. harris, brunswick, victoria, richard s harris, brunswick, victoria, c.f. loggins, chemist, 3 high street stratford-on-avon, richard savage, warrnambool museum and art gallery, thomas court, pt barnum, charles dickins, anne hathaway, black mulberry tree, reverend francis gastrell

This small ship’s bell, possibly a ‘mess’ or dining room bell, was the smaller of the two bells rescued by the crew of the Schomberg when it was wrecked in 1855. All of the crew from the Schomberg wreck survived. They carried the two ship’s bells with them as they made their way along the coast, eventually arriving at the home of settler, John Manning, who lived at Hopkins Point near Warrnambool. Manning acquired the Schomberg bells, presenting them to two Warrnambool churches; the smaller one to St Joseph’s Catholic Church and the larger bell to St John’s Presbyterian church. This small bell developed a crack after about a year at St Joseph's church and could no longer be used. Thomas Manifold imported a new bell for that church and the cracked belled was stored at his farm and stored. The property was sold years later to John Logan, who donated the discarded bell to the Warrnambool Museum when it first opened in 1886. The Curator, Joseph Archibald, displayed the bell in the entry. The small bell was repaired and re-plated by Briggs Marine in 1986. The larger Schomberg bell was installed in St John’s Presbyterian Church. In 1887 a ‘massive’ new bell, made in Victoria, was installed at the Presbyterian Church, so the old bell was transferred to the nearby Woodford Presbyterian authorities. During World War II the 1887 bell cracked, and could not be repaired. In 1983 the old Schomberg bell from the Woodford church was loaned to Flagstaff Hill Maritime Museum and Village. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen at a cost of £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and an oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the ship Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons of cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signalled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in 825 meters of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby.The bell is particularly significant in that along with other items from the wreck helped in part to having the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This bell forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck. A small ship’s bell. The bell bears the ship’s name and year of construction on one side and the name and address of the ship’s builders on the other. These details are deeply engraved into the metal and formed in bold upper-case lettering. The bell has two bell stands, a left and a right side. Both stands have an Iron pipe made into an inverted ‘Y’ shape with a hole made in the single length, and feet attached to a rectangular metal plate at the other two ends. Feet are bolted into a timber base that has a hole drilled through the centre for mounting. Bell's front; “SCHOMBERG” with “1855” below. Bell's back “HALL & SONS (crack splits letter “N”) / BUILDERS (in italics) / ABERDEEN” (crack splits letter “B”).flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, silver plated bell, mess bell, bell stands, captain ‘bully’ forbes, alexander hall and son, james baines and company, liverpool’s black ball line, bell, schomberg bell, ship's bell, small bell, st joseph's church, briggs marine

View to south-east from Shire of Eltham Soldiers' Memorial Park showing the carriageway from the road to top of Memorial Park. Accompanying notes state that the entry gate was put in place in May 1921. Eltham and Whittlesea Shire Advertiser and Diamond Creek Valley Advocate Fri 21 May 1920 p 2 reported: Kangaroo Ground Memorial Park "It was decided to arrange for a working bee on Saturday, 29th inst., for the purpose of forming and gravelling the track leading to the Park, and of carrying out other necessary works." A history summary of the Shire of Eltham Soldiers’ Memorial Park • The summit at Garden Hill was a popular tourist lookout and picnic spot from the 1880s. Virtually the entire Shire of Eltham and beyond could be viewed from this location. • A local farmer, Mr Walter A. D. Wippell is credited as being the first to propose the idea of a war memorial park and offered £50 towards the purchase of the land. • The earliest public reference to this project is to be found in the local Advertiser newspaper edition of August 9th, 1918. A report of the August Council meeting records the Eltham Shire President, Cr. Robert White, saying: "some time back it was proposed that the Council obtain and place on an Honour Board in the Council Chamber [at Kangaroo Ground] containing names of the lads who had enlisted. Just recently however, it had been suggested that a more fitting memorial would be the obtaining of a piece of land on the summit of Garden Hill, Kangaroo Ground, and the formation of a memorial park in which a monument could be erected to represent the whole of Shire. If a couple of acres could be obtained a gentleman had promised to donate 50 pounds, and another one would fence it, and other contributions, he was sure, could be obtained." • Councillors were favourable of the proposal and the President, Shire Secretary and Shire Engineer were deputised to wait on Messrs Mess Bros. (the owners of the Garden Hill farm) and ascertain if they would gratuitously give the land. The Mess Bros. land adjoined the farm/stud of Mrs Fanny White (Cr Robert White’s mother), daughter of Andrew Harkness who established their property on Garden Hill around 1846. • Access to the land came in February 1919 when several Councillors and the Shire Engineer surveyed the actual two acres of '5 chains along the road and 4 chains deep'. The Engineer volunteered his services free to do this task. The Mess brothers however demanded £100 per acre but eventually agreed to take £50 per acre. • Entry from the Kangaroo Ground-Yarra Glen road was seen to be a problem and Mrs. White, who owned the land beside the park, was asked to donated a triangle of her property to allow this access. • By September 1919 returned soldiers were employed by the Shire and volunteers were called to clear the hilltop by ploughing up the rocks and clearing the area, the fencing was put into place and in May 1921 the Council erected three gates, within an archway, at the entrance to the drive and pathway to the summit. • Public subscriptions were sought through the Advertiser newspaper to beautify the site. The views of the Curator of the Melbourne Botanical Gardens were sought as to the ‘class of ornamental trees most suitable for planting in the Park area”. • The Memorial Park or Shire of Eltham Soldiers’ Memorial Park was officially opened by Mr. W.H. Everard, M.L.A., 3 September 1921. • In 1922 plans were made to place a War Memorial in the Park. Funds were donated by the Council of £250 and a challenge to the community, to match this money with contributions was met. • On Anzac Day 1923, 1,000 people gathered on the summit in the park for a memorial service. A much smaller group of about 50 people gathered around a newly constructed cairn and flagstaff in the afternoon of Anzac Day 1924 amidst rain and a squally southerly wind, the morning service being cancelled. • A meeting for those interested in establishing a War Memorial monument within the park was held in January 1924 and the Eltham Shire War Memorial League was formed and a design competition decided upon. • The Shire of Eltham War Memorial tower was built in 1926 at a cost of £1,023 and 5 shillings with locally quarried stone donated by Dr Ethel and Professor William Osborne. It was formally known as the ‘Shire of Eltham War Memorial’ and was unveiled on 11 November 1926. The large bronze inscription above the entrance to the tower states: SHIRE OF ELTHAM WAR MEMORIAL THESE MEN DIED FOR THEIR COUNTRY 1914 IN REMEMBRANCE THIS TOWER WAS BUILT 1918 • The Caretaker’s hut was built in 1927 with left over from the tower construction. • A returned soldier was appointed to act as caretaker for the memorials. Tiny Carrol, a huge man, was the first caretaker and lived in the stone hut. There was a push to have alterations made at one stage to provide additional rooms for a married caretaker but was rejected. • A new Caretaker Cottage was built in 1951 at a cost £2,500. The cottage had been subjected to raids by thieves three times during construction until a guard from the Returned Servicemen’s League was posted until its opening. • The War Memorial tower was re-dedicated by Sir Dallas Brooks on 8 November 1951, unveiling new bronze plaques containing the names of those who fell during the Second World War. Sir Dallas also officiated the opening of the new Caretaker’s Cottage. • A toilet block was built in 1965. • A further dedication of the Shire of Eltham War Memorial tower took place 11 November 2001 to recognise the men who fell in subsequent campaigns up to and including Vietnam. • Four land titles are involved: o The purchase of the two acres from owners Ruth Gosling, Alexander Mess, James Johnson Mess and Joseph Mess is recorded in two actions, the first being the payment of £100 for the two acres, the second showing that the Shire of Eltham did not get a transfer of title until 14th January 1952. o The access land donated by Mrs. Fanny White is dated 26 February 1924. A further need to widen the entry came after the deepening of the road cutting and another land donation was given by Sir Herbert Gepp, title dated 15th May 1952. This would have been about the time he sold off the former White ‘Garden Hill’ property. o The land reserve to increase the area and possibly allow a circuit road to be put in place on the western side of the park was purchased by the Shire of Eltham, title dated 16th February 1973. Rare photograph of the entrance to the Shire's Memorial Park during early stages of development prior to the erection of the Shire of Eltham War MemorialSepia photograph printed with white border with slight crack lower left hand corner and three significant vertical cracks fanning from lower centre edge to upper edge Digitally enhanced version to minimise impact of crackseltham-yarra glen road, entrance gate, garden hill, kangaroo ground, shire of eltham memorial park, shire of eltham war memorial, kangaroo ground war memorial park

A “Bill of Fare” is a menu or list of food offered for a meal. This Bill of Fare from the sailing ship Schomberg is handwritten in pen in hard-to-read script on the printed pages specifically for the Schomberg ship, of the Black Ball Line of Australian Packets. (‘Packets’ were vessels that had a regular trade run of cargo, passengers and mail; the sailing ship Schomberg was designed for long voyages between England and Australia.) These menus posed a puzzle as they have the handwritten dates of, May 10 and 12, 1856, by which time the Schomberg had sunk (she sunk on December 26, 1855). The donor of these pages of Bill of Fare is a stamp collector from Melbourne. He came across the menus in a package that he bought in 1980 at a stamp auction in Tasmania. He decided to give the menus to Flagstaff Hill this year during his annual family holiday in Warrnambool. A 1981 newspaper article about this donation included an interview with Flagstaff Hill’s curator Mr Peter Ronald, who said that the stationery of these menus is genuine. He went on to say that there would have been much stationery printed for use on the Schomberg although she sank on her maiden voyage. These menus could have been written at a dated late because the surplus Schomberg stationery could have been used for menus on other ships. We will probably never be sure of the answer but none-the-less the pages are still connected to the Schomberg. Below is what we believe the menu consists of although some of the writing is indecipherable - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (first menu) Roast Mutton Boiled Mutton? Ox Tail Mulligatawny? Or possibly Ox Tail Vegetables? Mutton Pies? ------------------------------- Vegetables Potatoes ---------------------------------- Dessert Fruit Puddings? Saturday May 10, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - AND - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (second menu) Boiled Mutton Roast Mutton? Roast Geese? Ox Tail?? Calves Head Broth? ------------------------------- Vegetables Potatoes ------------------------------- Dessert Tarts? Rice Pudding? ?...Maids?? Monday May 12, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Background of “SCHOMBERG” When SCHOMBERG was launched in July, 1855, she was considered the “Noblest ship that ever floated on water.” SCHOMBERG’s owners, the Black Ball Line (one of three companies by that name), commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen, UK at a cost of £43,103. She was constructed with 3 skins: one planked fore and aft, and two diagonally planked, fastened together with screw threaded trunnels (wooden rails). Her first class accommodation was luxurious: velvet pile carpets; large mirrors; rosewood; birds-eye maple; mahogany; soft furnishings of gold satin damask; an oak-lined library; and a piano. Overall she had accommodation for 1000 passengers. SCHOMBERG’s 34 year old master, Captain James ‘Bully’ Forbes, had promised Melbourne in 60 days at the launch, "with or without the help of God." James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships MARCO POLO and LIGHTNING. In 1852 in the MARCO POLO he made the record passage from London to Melbourne in 68 days. There were 53 deaths on the voyage but the great news was of the record passage by the master. In 1954 Captain Forbes took the clipper LIGHTNING to Melbourne in 76 days and back in 63 days, this was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his own records. He cared little for the comfort of the passengers. On this, the SCHOMBERG’s maiden voyage, he was going to break records. SCHOMBERG departed Liverpool on her maiden voyage on 6 October 1855 flying the sign “Sixty Days to Melbourne”. She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway as well as a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. SCHOMBERG also carried 17,000 letters and 31,800 newspapers. The ship and cargo was insured for $300,000, a fortune for the time. The winds were poor as she sailed across the equator, slowing SCHOMBERG’s journey considerably. Land was first sighted on Christmas Day, at Cape Bridgewater near Portland, and Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the Third Mate Henry Keen, who reported land about 3 miles off. Due in large part to Forbes regarding a card game as more important than his ship, SCHOMBERG eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26 December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to SCHOMBERG and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the steamer SS QUEEN at dawn and signalled it. The master of the SS QUEEN approached the stranded vessel and all of SCHOMBERG’s passengers and crew were able to disembark safely. The SCHOMBERG was lost and with her, Forbes’ reputation. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the SCHOMBERG. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot! Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 salvage efforts were abandoned after two men drowned when they tried to reach SCHOMBERG. Parts of the SCHOMBERG were washed ashore on the south island of New Zealand in 1870, nearly 15 years after the wreck. The wreck of the SCHOMBERG lies in 825 metres of water. Although the woodwork is mostly disintegrated, the shape of the ship can still be seen due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen surrounding the wreck, by divers. Flagstaff Hill holds many items salvaged from the SCHOMBERG including a ciborium (in which a diamond ring was concealed in concretion), communion set, ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the SCHOMBERG. These Bills of Fare are significant due to their connection to Flagstaff Hill’s collection of artefacts from the Schomberg, which is significant for its association with the Victorian Heritage Registered shipwreck S612. The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. The Schomberg collection is archaeologically significant as the remains of an international passenger ship. The shipwreck 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 shipwreck and the ship, which was designed to be fastest and most luxurious of its day. The Schomberg 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. Menu, or Bill of Fare, on cream coloured stationery from the sailing vessel “Schomberg”. Two rectangular pieces of paper, each bears the printed words “Black Ball Line of Australian Packets, Bill of Fare, Ship, Schomberg”, a printed symbol of the Black Ball line (a black ball on a red flag) and a decorative border. Both pages are handwritten, in similar but different sized writing, with a Bill of Fare and a date, Page (1) dated May 10th 1856 and (2) dated May 12th ’56, (Both dates are AFTER the Schomberg sank in December 26th 1855.) Both pages have three fold lines spaced across their width. To be used for the return voyage.Printed on the pages ““BLACK BALL LINE OF AUSTRALIAN PACKETS.” “Bill of Fare, / SHIP / “SCHOMBERG”.” Handwritten list of food, and on one page “Saturday May 10 1856” and on the other page “Monday May 12” warrnambool, peterborough, shipwrecked coast, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, flagstaff hill, sailing ship schomberg, shipwreck schomberg, black ball line of australian packets, bill of fare schomberg, menu schomberg 1856, food mid-1800’s, food on ships mid-1800’s, menu, may 10, 1856, may 12, 1856

This photograph depicts members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert was associated with an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were a part of Beechworth life in the nineteenth and early twentieth centuries. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, founded in the late 1860s, were among the attractions on offer. 'Liedertafel' is a tradition that accompanied German settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. German clubs, complete with marching bands, athletics associations and Liedertafel choirs, were centres of social activity attracting wide audiences not limited to members of their own ethnicity. Alfred Arthur Billson was the youngest son of Mr. George Billson, who served as Beechworth’s mayor between 1869-1871. In 1872, George purchased the Oven’s Brewery in Last Street, which became Billson’s Brewery, one of the oldest continuing beverage manufacturers in Australia. An active member of Beechworth’s cultural, business and political life around the turn of the century, A.A. Billson served on Beechworth Shire Council from 1884 to 1893, and from 1895 to 1910, with three terms as president (1888–89, 1899–1901, 1908–09). He founded the Beechworth Progress Association in 1891 and produced an ‘Illustrated Guide to Beechworth and Vicinity’ to develop tourism potential. This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Rectangular colour photograph printed on matte photographic paper. Reverse: 7029 / Label: 7029 / Source / Burke Museum / Beechworth / Band / 1999/2000 /liedertafel, beechworth band, burke museum, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, gold rush, immigration, beechworth's german heritage, london tavern beechworth, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, protestantism, teetotallism, skating carnivals, beechworth german association, yma's, beechworth skating rink, progress societies, billson's brewery, german-australians, beechworth progess association, lodges, freemasonry, colonial australia

This photograph depicts female singers accompanied by members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, which was founded in the late 1860s, were among the entertainments on offer in Beechworth.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Liedertafel choirs were originally male-only, therefore, the presence of female singers at the 1999 exhibition reflects progressive social and community values with regard to gender and inclusion.Rectangular colour photograph printed on matte photographic paper.Reverse: 7030 / Label: Burke Museum / Liedertafel Exh / Emily Messen, Luetta / Schier, Hannah / Routledge, Sarah / McKinley 2000 (?) / 2000 (?) / liedertafel, beechworth band, burke museum, exhibition 1999, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, past exhibitions, performances at the burke museum, european settlers, german community, german choral societies, brass bands, male choir, colonial passtimes, colonial entertainments, cultural traditions, gold rush, immigration, beechworth's german heritage, london tavern beechworth, camp st beechworth, beechworth historic district, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, benevolent societies, intellectual societies, protestantism, billson brewery beechworth, teetotallism, fancy dress carnivals, skating carnivals, fundraising societies, german musicians, crimean war, beechworth german association, freemasonry, yma's, beechworth athenaeum, beechworth skating rink

This photograph depicts two members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were a part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, processions, circus acts, theatrical performances, races, fancy dress and roller skating carnivals, were among the vibrant and diverse entertainments offered in Beechworth during the gold rush period. Race meetings were revived with a gala atmosphere at Baarmutha on New Year's Day and Easter Monday in the early 1880s. 'Spiller's Skating Rink', which premiered at St. Georges Hall in August 1869, was accompanied by the 'Beechworth Fire and Drum band'. In 1888, Beechworth had two skating rinks in operation, the Columbia Elite at Oddfellow's Hall, and the Beechworth Skating Rink, corner Camp and Last Streets, Beechworth. Vandenberg's Beechworth Brass Band was reported to have provided musical entertainment for patrons at both venues.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The story of Liedertafel's and Beechworth Brass Band is historically and socially significant for understanding the role played by German immigrants in building Victorian communities. In settler communities, cultural associations centred on artistic, recreational and sporting activities not only provided a popular means of entertainment, but fostered social cohesion among settlers from diverse ethnic backgrounds.Rectangular colour photograph printed on matte photographic paper. Obverse (On keyboard): Technics / Reverse: 7028 / Label: Liedertafel / exh. / Beechworth / Band / 1999/2000 /liedertafel, beechworth band, burke museum, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, gold rush, immigration, beechworth's german heritage, london tavern beechworth, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, protestantism, teetotallism, skating carnivals, beechworth german association, yma's, beechworth skating rink, progress societies, billson's brewery, german-australians, roller skating history

This photograph is recorded as depicting a street of shops and London houses at Burke Museum in the 1990s. It features an indoor recreated historical streetscape of the 19th century. Within the shop window recreation are objects on display, including hats. The Street of Shops exhibition is still on display at Burke Museum and features objects collected in 1979 through the community by Roy Harvey (also author of Background to Beechworth from 1852), to provide insight into eras of the past. This exhibit displays a collection of over 30,000 items, many dating back over 150 years. The ‘street of shops’ tell the story of the changing town and its community.This photograph is of social significance to the Beechworth area and the Burke Museum as it depicts a still-exhibiting museum display that is of value to the community. The artefacts exhibited in the photograph all have a strong connection to the Beechworth area, having been donated by members of the local community, and are of special value to that community. It is also a record of the curating work of Roy Harvey, a local historian, author and museum curator, as well as a depiction of the curating and exhibition practices of the 1990s, when the photo was taken.This is a colour rectangular photograph printed on paper.Obverse: Est London House 1856 / mantles, manchester, robes, gowns, bonnets / rundle and roberts. Reverse: 53307street of shops, historical streetscape, recreated shops, roy harvey, museum exhibit, burke museum, beechworth, 19th century museum display, victorian artefacts, community, exhibition history, shop history, shop recreation, hats, bonnets, manchester, robes, gowns, rundle and roberts

Taken in 1990, this photograph depicts a row of shops in Beechworth, with the shopfront of watchmaker and jewellers, William Turner and C.F. Falck, in the foreground, and newsagent and bookseller James Ingram's shop in the background.This photograph is of social significance to the Beechworth community in depicting the Street of Shops, the creation of curator, Roy Harvey, which opened in 1979 at Burke Museum. According to the Indigo Shire Council webpage for Burke Museum, this addition 'began a new period of collecting with Roy Harvey calling to the community for donations. The response resulted in an influx of material adding to the town history/ development and local identities collections. The Shops and their contents reflect another period in museology.' The historic shopfronts in this image portray those of local settlers, William Turner and CF Falck's Watchmaker and Jeweller store, and James Ingram's news agency and bookshop. William Turner was originally a goldfields official who became a commissioner on the Ovens goldfield, and later a resident warden, at times performing magisterial duties and chairing the Local Court. Charles Frederick Falck, born in Korlin, Germany, in 1833, a skilled watchmaker and jeweller, ran the jewellery business from 1862. Along with William Turner and Melbourne barrister, George Milner Stephen, he prepared a dazzling display of gems and jewellery from Beechworth for the Royal Society's Exhibition in Melbourne in 1865. This act signposted Beechworth's progress as a nineteenth-century gold rush town with a population of around 3000. In the mid-1850s, newsagent James Ingram established a newsagency and supplied papers and stationary to the goldfields. He and bookseller R.T. Vale stocked a wide range of literary, historical and religious works, textbooks, periodicals and newspapers, as well as hosting a reading and writing room on Camp Street{?}. James Ingram was a 'devoted instigator and supporter of the town's welfare institutions', who raised funds for to establish a hospital, primary school and benevolent asylum, and assisted people who'd fallen on hard times with his wife. He was also a mainstay of the early Baptist church, holding meetings in his house. He died in 1928, six weeks short of his 100th birthday. Ingram's Rock, north-west of Beechworth near where he lived in later life, was named after him. Colour rectangular photograph printed on matte photographic paper.Obverse: FALCK 1880 / maker & Jeweller/ WARDENS OFFICE/COACHING OFFICE/ EST. ??55/ ????ON HOUSE/ JAMES INGRAM/ NEWS?????? AND BOOKSELLER/ TOYS visible above shopfront in left foreground. Reverse: Catalogue item number 3305 pencilled in top right-hand corner.beechworth, beechworth historic shops, william turner, cf falck, james ingram, turner and falck watchmaker and jeweller, james ingram newsagent and bookseller, burke museum, promoting settlement, marketing and retailing, living in country towns, making regional centres, preserving traditions and commemorating, beechworth founders, victorian gold rush towns, beechworth pioneers, ingram's rock, 1860s beechworth, street of shops, roy harvey

Taken in the 1990s, this photograph depicts a line of historically restored shopfronts on Ford Street, Beechworth, with Beechworth Bazaar in the foreground and George Gammon's Chemist and Druggist adjacent to it.This photograph is of social significance to the Beechworth community in depicting the Street of Shops, the creation of curator, Roy Harvey, which opened in 1979 at Burke Museum. According to the Indigo Shire Council webpage for Burke Museum, this addition 'began a new period of collecting with Roy Harvey calling to the community for donations. The response resulted in an influx of material adding to the town history/ development and local identities collections. The Shops and their contents reflect another period in museology.' This photograph evokes the historic shopfronts of Beechworth Bazaar and George Gammon's Chemist and Druggist from the Street of Shops, which were established during the mid-1850s on the back of gold mining wealth. The expansion of banks within Beechworth also stimulated the local economy.Colour rectangular photograph printed on gloss photographic paper.Obverse: BEECHWORTH BAZAAR est. 1855/ CHINA GLASSWARE SILVERPLATE EARTHENWARE/ ?ESTER HO?E/ R.?ALL. ? LT.LITTLEWOO?/ SINGLEMAN & RIEDLE GEORGE GAMMON/ MEDICAL GALVANISM/ CUPPING/ TEETH EXTRACTED/ CHEMIST & DRUGGIST Reverse: 3. 3055 burke museum, beechworth, beechworth bazaar, 19th-century victorian history, beechworth historic shops, burke museum, promoting settlement, marketing and retailing, living in country towns, making regional centres, preserving traditions and commemorating, victorian gold rush towns, beechworth pioneers, 1850s beechworth

Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.Mary Gilbert was the first curator of the Orbost Museum, and a local teacher. These scrapbooks contain articles which reflect the social standards of the 1960's.Two scrapbooks containing pasted in cut-out magazine articles on manners, presentation and clothes for young women.Handwritten on the front cover of 1840.1 : Words of Wisdomgilbert-mary scrapbooks 1960's

Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. .Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community. Mary Gilbert was the first curator of the Orbost Museum, and a local teacher. These scrapbooks contain articles which describe historical events of the 1960's.Three scrapbooks containing clippings of newspaper articles of historical events. A list of contents is pasted on the front cover of each.Handwritten on the covers: 1842.1-Mary Gilbert Book1 ; 1842.2 - Mary Gilbert Book 2 ; 1842.3- Mary Gilbert Book 3gilbert-mary scrapbooks 1960's

The hat band was part of the girls' school uniform and attached to their straw hats. The school badge was designed by Clarke Cowell, a student in the first Senior class at Orbost Higher Elementary School in 1912. The Latin inscription "Acti labores jucundi"can be freely translated as "Finished work is pleasant." The hat band and badges formed part of the Mary Gilbert Collection. Miss Mary Gilbert attended Orbost Higher Elementary School 1917-1920. She was dux of the school in 1920 and returned as a trained teacher in 1927. She taught at Mordialloc H.S. in 1932, at Lilydale in 1933/34 and returned to Orbost H.E.S. in 1935, remaining there until her retirement in 1969.Mary Gilbert, the first curator of the Orbost Museum, was recognised for her work in education and the community when she was awarded the British Empire Medal. Orbost High School / Orbost Secondary College has played a significant part in the education of senior students in the Orbost district . It is the sole senior educational institution. This uniform is representative of its history.A yellow, navy and white striped hat band. A badge of the Orbost Higher Elementary School emblem is sewn on. A metal badge with the school emblem is attached.gilbert-mary orbost-secondary-college education-orbost

About the author: Born in Melbourne, David Crotty has worked in museums since 1984. He has a long-standing interest in aviation history and has worked as a curator with the Australian War Memorial and the RAAF Museum. He is currently (2010) a curator in the History and Technology Department of Museum Victoria. Story of John Robertson Duigan and his flying creer, from his early years as a Melbourne school boy to his heroic activities as a pilot on the Western Front in World War One. He was the first Australian to fly a powered Australian-made aeroplane in Australia.Front cover: Top - Duigan's aeroplane in flight, Spring Plains Station, Mia Mia, Victoria, in 1911. Below - John Duigan at the controls of his aircraft at Spring Plains Station, Mia Mia, Victoria, in 1911.

Official opening, Thursday 5 December at 2.30pm of exhibition held 5 December 2019 - 6 January 2020 in the Eltham Community Gallery, Eltham Library Eltham District Historical Society is a member of the Yarra Plenty Heritage Group, which together with the Nillumbik U3A Painting and Drawing Group participated in an exhibition of historical photographs and original artworks side by side in a celebration, at the Eltham Library Community Gallery, of all things summer - picnics, swimming, boating, horsing around and enjoying nature with family and friends during long summer days. 56 Born Digital images2nd eltham sea scouts, andrew ross museum, eltham district historical society, eltham library, exhibition, greensborough historical society, heidelberg historical society, museums australia (victoria), nillumbik historical society, nillumbik reconciliation group, nillumbik shire council, nillumbik u3a drawing and painting group, roving curator, st andrews/queenstown historical society, u3a, yarra plenty heritage network, yarra plenty regional library

This pH meter was made in 1946 by Cambridge Scientific Instrument Co. Ltd. in London. The company was founded in 1881 and the owner eventually became Horace Darwin, the youngest son of the famous scientist Charles Darwin. It is a portable version that can be used on-site in many different situations. A similar instrument was used by the Chemistry Department of what is now the University of Cambridge. The science of pH measurement began in the 1910s and was further developed in 1926. The pH meter is an electronic scientific instrument used to determine the pH measurements of a solution accurately; the amount of acid and alkaline in it This measurement can have many other applications helping to maintain the appropriate balance for a particular result. For example, it can measure the pH of pharmaceutical medications, soil, swimming pool water and hair shampoos. This Cambridge portable electronic pH instrument was made in 1946 by a company specialising in scientific instruments. It is an early example of much smaller devices used today in many different fields including medicine, and the preservation and conservation of shipwreck artefacts. Flagstaff Hill Maritime Museum and Village's Curator uses a pH meter today in the conservation process of a historic cannon that was recovered from the 1839 wreck of the vessel 'Children'.Scientific instrument, electric Cambridge Portable pH Meter in a polished wooden box with compartments, fold-out doors, and leather carry handle. Includes blue covered Instruction manual with a 'Certificate of Test' inside, and chemicals. Electrodes mounted in compartment. The lid is separate from the base, attached by pins and hinges. A plate inside the lid gives instructions for 'Preparation for Use'. Made by the Cambridge Instrument Company, London, in 1946.Printed on plate: "Cambridge Instrument Co. Ltd, 13 Grosvenor Place, London, S.W.1' Certificate dated: "6-3- 46" (1946)flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ph meter, cambridge scientific instrument co. ltd, horace darwin, cambridge university, ph balance, scientific instrument, ph measurement

164 pages, softcover with colour illustrations.non-fictionThe first comprehensive study of the life and work of Ray Honisett [1931-2019], one of the most significant illustrators of his generation and the doyen of Australian aviation art.ray honisett, gavin fry

This book belonged to Mary Gilbert and was probably used by her whilst at Melbourne University as a student. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.Mary Gilbert was the first curator of the Orbost Museum, and a local teacher. She was a highly respected Orbost citizen.A black paged botany book with a leatherette cover. Inside are hand -drawn botanical specimens. On the front, in gold, is the Melbourne University insignia with its motto -"Postera crescam laude" ( "May I grow in the esteem of future generations").MARY I. GILBERT BOTANY 1 1926 No. 437gilbert-mary

Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.This item has aesthetic significance. It was owned by Mary Gilbert, a prominent Orbost personality, the first curator of the Orbost Museum. Handmade, tall carved wooden vase painted red. Bush scene painted black with pokerwork.vase ornament-wood gilbert-mary