Panoramic sketch by George W Bleach A 2nd Anzac Topographical Section. April 11th 1917. View from Heath Trench. Co-ords of O.P.U13.b 30.20Panoramic view of Messines. Printed on cream card. Sepia image. By George W Bleach A 2nd Anzac Topographical Section. April 11th 1917. George W Bleach A 2nd Anzac Topographical Section. April 11th 1917.panoramic view of messines

Avery metal manual scales with measurement in grams - with adjustable chrome feet. Accompanied by an array of weights of varying brands (Mercury, MSC, unmarked) 2 x 7LB, 3 x 4LB, 1 x 3LB, 1 x 2LB, 3 x 1LB, 8OZ and 4OZ.AVERY FOR TRADE VICTORIAN PATTERN APPROVAL No. V8 To Weigh Chart MARKED BY 2 GRAM DIVISIONS MADE IN ENGLAND BY W&T AVERY LTD BIRMINGHAM No 1215 BFH/S - 680767scales, measurement, weighing, weights

This book was purchased new by Orbost & District Historical Society. Written by Buchan historian, Rhonda Coates, the book was commissioned by Tubbut Neighbourhood House following a commemoration event in 2002 when many people gathered for a special day organised by Sister Helen Barnes and the Tubbut community. (ref. Bombala Times)This book is a useful research item.A paper back book, titled McKillops Bridge, written by Rhonda Coates. On the front cover is a photograph tractors crossing the bridge during the Great Snowy River Tractor Stampede ( The Snowy River Tractor Strampede, a 560-kilometre journey, is organised by the Bega and District Historical Machinery Club every January - the first being held in 2009.) this photograph is inset over an earlier phpotograph by Howard Bulmer c 1936. The book contains the history of the bridge, photographs of the bridge and times before its construction.On front fly-Orbost &District Historical Society Incmckillops-bridge

Author, Robert Haldane, retired from the Victoria Police Force in August 2001, after almost thirty-four years service but has maintained his local links in East Gippsland, Victoria, Australia. He is an Associate of the Gippsland Heritage Journal and a contributing author to the Gippsland Heritage Journal and Gippsland Country Life magazine. This book is a significant reference tool for the history of nursing in East Gippsland.A soft covered 70 pp book titled A Century of Service the Story of The Buchan Bush Nursing Association. On the front cover is a sepia photograph of a group of people and a dog in 19th century dress.buchan bush-nursing haldane-robert

This book was compiled to celebrate the centenary of secondary education in Orbost. It was launched on Saturday April 28 2012 as part of the centenary celebrations. Compiler of the book, John Phillips, was a teacher at Orbost Secondary College for a period of 34 years from 1966-1999.This is a usefeul reference item.This publication is a bound soft-covered book of 150 pages with a loose sheet insert depicting the Centenary Garden gate, the 2012 Roll Call of Students and the 2012 College captains.On front cover -"A Centenary of Secondary Education at Orbost - 1912-201. Orbost Higher Elementary School 1912-1947 ; Orbost High School 1948-1989 ; Orbost Secondary College 1990-2012book education orbost-seecondary-college

In 1943 a camp for workmen was erected and a commencement made with the erection of plant storage and workshop buildings in the new township of Mt. Beauty. The photograph was probably taken after the completion of these buildings. There is no sign of construction of the town itself. In the latter part of 1945 work was commenced on the Mt. Beauty township area with a medical centre, general trading store and some houses under construction. The No. 5 Road, from where the photograph was taken, is the road to West Kiewa Power Station and Big Hill Scenic Lookout.Is an excellent view of the Kiewa Valley before there was little work undertaken to establish the town of Mt. Beauty. Farming was well established with the evidence of huge areas of cleared land. The junction of the East and West Kiewa Rivers can be clearly seen. The first Workmen's camp is near the river and some workshop buildings can also be seen. Black and white photograph of the Kiewa Valley, looking North.Handwritten on the back of photograph "Kiewa Valley from No. 5 Road".kiewa valley, camp, buildings, mt. beauty

These postcards were made for sale in the Orbost Ehibition Centre. The Snowy River Talking Wall is on the lower outside of the Orbost Exhibition Centre. The cards relate the history of Orbost both indigenous and white. The contributors are: Barry Miller; Gary Green; Becky Illume; Dawn Van Den Berg; Ruth Hansen; Geordie Webb; Graham Falls; Laurie Harvey and Jonathon Renn. The Orbost Exhibition Centre is a community based, not-for-profit arts and entertainment center in Orbost, Victoria. It is the home to the National Wood Design Collection and the Annual Australian Wood Design Exhibition. Wood Workers of Orbost and District initiated the Orbost Exhibition Centre back in 1997 and it was opened in 2004. (from web-site)These postcards are pictorial advertisements for Orbost. They are associated with the Orbost Exhibition Centre, an important tourist attraction, in the town.A set of eleven coloured postcards. Each depicts a section of the Snowy River Talking Wall. Each is a folded rectangle of cardboard with a photograph of a section of the display and information relating to it.talking-wall-orbost postcards orbost-exhibition-centre

The name Croajingolong derives from the Australian Aboriginal Krauatungalung words galung, meaning "belonging to" and kraua, meaning "east". This is the sixty-sixth edition of the annual school magazine. 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 magazine is representative of its history and is a useful reference tool.A glossy magazine titled " Croajingalong 2013". On the front cover is a photograph of the Snowy River at Marlo. On the back cover is the Orbost High School badge in various colours. It contains coloured photographs.magazine orbost-secondary-college education

Small, very rusty cigarette tin would have held 20 De Reszke virginia cigarettes. The cigarettes were named after Jean De Reszke (1850-1925), a famous Polish opera singer and were advertised as "The Aristocrat of Cigarettes". Produced by J. Millhoff (a Russian cigarette maker living in London). A special blend of tobacco - that was believed not to damage the famous singer's voice. In gratitude Millhoff was allowed to sell the brand as "De Reszke" cigarettes.Top: De Reszke / VIRGINIA / The Aristocrat of / CIGARETTES. Two coats of arms - just visible on lid. Sides: 20 De Reszke 20 / De Reszke CORK / Godfrey Phillips (Aust) Pty. Ltd., Melbourne, Australia. MILLHOFF & C0 Pty Ltd. Printed inside: "Just as good and pure a cigarette as was especially made for and always smoked by that great singer Jean De Reszske". De RESZKE Virginia Picture of gentleman above (head and shoulders). smoking, de reszke, cigarettes, geoffrey phillips (aust) pty ltd, millhoff

Cardboard periscope - folded with two mirrors. Directions for use are included on top and bottom.Top: "Directions for use . . ." Bottom: "Directions for use . . ." "VIMOS PERISCOPE" PAT APP FOR NO 25973 / 1936periscope - collapsible

Red Benson and Hedges tin, with Royal Crest."By Appointment Tobacconists to His Majesty the King" "When only the Best Will Do" "Benson and Hedges Super Virginia Cigarette"containers

A green plastic covered Oxford Easy Anthem book with the title printed in large black lettering at the top of the front cover. A Collection of Fifty Anthems is written in black letters with the publisher logo and name below. On the title page is printed the title and publisher details. An Alphabetical Index to the Anthems is listed at the front as well as an ldex of Anthems suitable for Various Seasons and Occasions. p.186.non-fictionA collection of fifty easy anthems: to appeal to choirs who may find a Church Anthem Book beyond their powers.choral anthems, anthems, festive music, songs, religious amthems

A badly damaged and faded green paperback music textbook titled: First Steps in Harmony - a catechism of elementary Harmony for the use of beginners by Minnie Cuthbert L.R.A.M A.R.C.M. It has a preface, contents and index at the front of the book with lessons throughout. The back cover has printed in an ornate design, Theo Bonheur's Standard Pianoforte Tutor. At the back of the book are some advertisements for music books.non-fictionFirst Steps in Harmony book was written by request to assist junior pupils, and those beginners in Harmony who are only able to devote a small portion of time to its study. The book is divided into Lessons.music, songs, lyrics, singing

Used by Mr. A. Baker Snr. early 20th Century. A small damaged rectangular, metal tobacco tin with red edging around the yellow, hinged lid. It has the label "LOG CABIN" Flaked Gold leaf Tobacco printed in three scroll shapes. There is an outline of a cabin in the bush, with a horse and man in the foreground. The manufacturer's details are written at the bottom. The tin is worn with age and use, and the lid is loose.Tobacco Tin - 'Log Cabin Flaked Gold Leaf Tobacco W.D. & H.O. Wills (Australia) Ltd. Sydney Successor in Australia to Lambert & Butler.'tobacco tins, tobacco containers, smoking equipment

Rectangular metal tin with hinged lid. Mainly cream in colour with green line, makers name 'De Reszke'.Marked on lid: De Reszke The Aristocrat of CIGARETTES

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours. The "Magdalene Vinnen" was photographed by Samuel J Hood in a series of photos taken in March 1933. It was a 4 masted steel barque, built in 1921 in Kiel, Germany and for almost 80 years was the largest traditional sailing ship in operation. It was used extensively as a cargo ship. It sailed into Sydney Harbour on 27th Feb 1933, loaded with almost 16,000 bales of wool destined for Falmouth, England. In March 1933 (whilst in Sydney) the German Republic flag (on orders from Adolph Hitler) was lowered and replaced with the old monarchist flag which was then to be the official flag and beside it the Nazi flag was to be flown on all ceremonial occasions. It visited Australia again in 1935 with its cargo being wheat from Port Broughton, S. A. In 1936 it was renamed "Kommodore Johnsen" and in 1945 (after WW2) the ship was awarded to the Soviet Union as war compensation and renamed "STS Sedov". The "Winterhude" (originally called "Mabel Rickmers) was a three masted Finnish barque built in 1898 by Rickers - Werft Bremerhaven for use on the East India rice trade and later the South American nitrate trade. After WW1 it came under French control as war compensation. It was also sold several times and at one stage was called "Selma Hemsoth" but in 1925 it was bought by Gustaf Erikson who restored the name "Winterhude" and the vessel became a regular transport in the Australian wheat trade. In 1944 it was sold to the German navy before being taken over by the British at the end of WW2. It was photographed in Sydney by William James Hall in 1931 on its way to Port Lincoln, South Australia to load wheat for Europe. The third ship depicted by B. C. G. Burnett is a pen and wash sketch labelled "The White Ship" and exactly matches a photograph pasted into his personal scrapbook which is in the "Library and Archives N. T.". The name of the ship is unknown and B. C. G. Burnett may have taken some artistic licence with the colouring as in the original photograph, the ship had a dark hull.This set of three small artworks is significant as examples of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. They are also important because their creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.A set of three artworks by B. C. G. Burnett of sailing ships in Sydney Harbour. They are all on rectangular watercolour paper with small diagonal edges at each corner. Painting 1 is a watercolour painting of a sailing ship called "Magdalene Vinnen". It shows a 4 masted barque with a blue and red steel hull in full sail heading towards the viewer. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Painting 2 is a watercolour painting of a sailing ship called "Winterhude". It shows a 3-masted barque with a blue and red steel hull in full sail heading away from the viewer. A small figure can be seen at the wheel at the rear of the ship. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Sketch 3 is an ink sketch of an unknown sailing ship moored to a dock. There are several small boats tied up near the sailing ship and a large steel freighter can be seen in the background. There is a faint wash of colour on parts of the sketch - the bottom of the ship, the masts and booms and the water at the end of the pier. The title (The White Ship) and the artist's name (B. C. G. Burnett) are written in ink in the top left corner. 1 (front) - "B. C. G. BURNETT. 1933 2 (front) - "B. C. G. BURNETT. 1933" 3 (front) - "THE WHITE SHIP / B. C. G. BURNETT"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, magdalene vinnen, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall, sedov, kommodore johnsen, mabel rickmers

William Nichols Anderson (1873-1927) was an Australian painter, one of whose works from the 1906 series River + Rail is in the Kew Historical Society’s art collection (donated 1984). A separate archive file contains correspondence, biographical information (written by his niece), and locations in Kew where he lived. Much of the correspondence between the Society and the City of Kew relates to the painting and its location in the Mayor’s Room at the Kew Civic Offices, Charles Street, where it was on loan from the Society. Lucy M (Jean) Hornby, the artist’s niece and the donor of the painting was a resident of 5 and 20 Queens Street, Kew (Vic). Australian ImpressionismGift of Lucy Hornby, 1984Framed oil on canvas by W. Nicholls Anderson of Park Street, Kew (now Adeney Avenue) looking uphill in a southerly direction towards Cotham Road. The painting is dated to 1906. The two storey house at left was known as 'Eborensis'. The house is still extant on the corner of Adeney Avenue and Parkhill Road. On sticker on back of frame - Adeney Ave./1913/ £3.3.0/ 13th Annual/ Exhib. V.A.S [Victorian Artists Society]/1911 Aust Art Exhib/the Guidlhall/Swanston st Melb./ Adeney's Paddock/ Kew. £3.0.0.artists - kew - victoria - australia, victorian artists society, william nicholls anderson (1873-1927), adeney avenue kew, australian art exhibition 1911, victorian artists' society, w. nicholls anderson

THE PHOTO DEPICTS THE UNIFORM OF A LIGHT HORSEMAN IN THE 1914/18 GREAT WAR. FEATURED ARE THE RIFLE AND BAYONET, SHOULDER BANDOLIER, LEATHER LEGGINGS AND PLUMED HAT ALSO BAYONET SCABBARD AND LEATHER BELT.SEPIA ORIGINAL OF W. GILLESPIE.W. GILLESPIElocal history, photography, photographs, military

Black and white photograph of two steam trains on the Wahgunyah branch line.Written on back of photo: "A 'up' goods is set back on the Wahgunyah branch headed by K186 as 'J' 527 [illeg.] Springhurst in 'Down' goods. 1.7.1960" Rubber Stamp: "Norman W. De Pomeroy"springhurst, steam trains, k186, j527, wahgunyah

index, ill, maps, p.144.non-fictionA history of locomotives on the New Zealand Government Railways from 1863.railroad locomotives - new zealand - history, railroads - new zealand - history

William Henry Maw was a British civil engineer and astronomer. He was born in 1838 and died in 1924 at eighty-five years. Maw worked as an assistant at the workshops of the Eastern Counties Railway before he became a draughtsman in the design office. He designed the first outside cylinder locomotive for use in India. In 1865 he founded the journal Engineering and continued to be an editor for the rest of his life. Maw became a consulting engineer. He was president of the Civil and Mechanical Engineers' Society, the Institution of Mechanical Engineers and the Institution of Civil Engineers. This book contains a wide range of articles and reviews related to industrial developments such as rail mill engines at the Dowlais iron works (constructed by Messrs. Kitson and Co., engineers, Leeds), cable tramway, Clay-street, San Francisco, U.S.A., road and railway bridge over the river Dnieper, at Jekaterinoslow, Russia (constructed from the designs of Professor N. Belelubsky, St. Petersburg, by the Brjonsk iron works) etc. A book with blue large hard cover. Title and publication date are written on spine in gold. Illustrations (fig., plates, plans, diagrams) in B/W. Includes collection of the engineering weekly journal vol. xxxix-from January to June 1885. This book contains a wide range of articles and reviews related to industrial developments. Page no.712.machinery, tools, engines, engineering, railroad, w h maw, rail, mill engines, cable tramway, clay street, dowlais iron works, twin screw engines, royal italian torpedo ram vessel, messrs r and, w hawthorn engineers, electro plated carriage, the tehuantepec ship railway, otis elevator

Colour digital image taken by W. J. Llewelyn of Donald Campbell's "Bluebird", Sturt St. when the convoy passed through Ballarat Bluebird was one the motor vehicle used in the land world speed record attempts of the era. Shows many people milling around the truck carrying the trailer, barricades. Photo outside the Town Hall.trams, tramways, sturt st, sports, bluebird

Post Card printed on back with photographer's details: W. Mason & Co., 144 Bridge Road, Richmond. W. Mason & Co. operated from this adress from 1903-c.1932 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, 1903-1932, 1915, mary ann shillinglaw (1880-1963), w. mason & co. photographer 144 bridge rd melbourne

This box which once contained linen thread manufactured in Scotland and labelled "British" manufacture" was used for the repair/manufacture of clothing by professional seamstresses and those wives required to "do" repair stitching of family clothes. This box was manufactured in a period when the title "United Kingdom" was used (late 1700's early 1900's) to describe the union of Britain and Scotland. The label however can be misleading as the"British Manufacture" thread was manufactured in Scotland. The broad term "British Manufacture" was used for the benefit of those in the "colonies" of Australia and New Zealand, during a period when the "coined" phrase "best of British, or British best" was synonymous to "top quality". After World War II the need for "cheaper products" was more persuasive than the quality of the product. In rural areas this shift to cheaper "non British" goods was at a slower rate than in the cities. Goods such as clothing manufactured or altered by seamstresses were regarded as of a higher standard and therefor the use of linen thread from "Britain" was a sign of quality and reliability.This box which contained linen thread, "British" made, is very significant to the Kiewa Valley because it demonstrates the conditions under which households in the late 1800's and early 1900's evolved from a "domestic repair /replacement" of damaged clothing to a consumer of recycled and shop bought clothing and linen. The ability of semi isolated rural based families to purchase "off the rack" clothing was severely affected by weather, long distance over dirt roads(poorly serviced) to large towns(shops), horse/cart or slower driven cars. The purchasing of clothing was, on the whole, from trading house "mail order" consignment orders.This red paper covered box has a white covered lid (top) with black print detailing the manufacturer and contents. This box contained 150 yds of linen thread 2 cord. A small added note pasted on one side "USUAL TWIST (s)" describing the thread's appearance. Two semicircular "finger" holes on two sides of the lid permit easier removal of the lid from the base.On the top lid: "W.&J. KNOX'S" below this a crest with latin motive "MOVEO ET PROFICIOR" English translation "I proceed and am more prosperous" encircling an open winged falcon. below this "LINEN THREAD", "2 CORD." "WARRANTED" "150 Yds." Made from Flax." British Manufacture". On one side "DRABS SOFT FINISH" within a shield "KNOX'S TWO CORD 150 YARDS 30" next to this a trade mark "W & J KNOX below this "made in KILBIRNIE, SCOTLAND"thread, cord. flax, box container, linen thread, seamstress items, cardboard box

In 1865 James Jones Elliott of 156 Cheapside in the City of London, was apprenticed to a clockmaker"Bateman" of 82 St John Street, Smithfield, London., to learn the art of clock making. Initially, J J Elliott specialized in producing pinions and balance shafts for clocks. He eventually progressed to making, and patenting, a weight-driven movement which had chimes on tubes. This clock was very successful and resulted in considerable trade with America. James Elliott's son, Frank Westcombe Elliott, when he was 17 years old, went into business with his father after his father had bought a partnership with a jeweler called “Walden” of Brompton Road, London. In 1904, JJ Elliott died and Frank succeeded his father in clock making business. In 1909 company of JJ Elliott amalgamated with Grimshaw Baxter, and the factory moved to Grays Inn Lane, London, in 1911, followed by a further move, in 1917, to larger premises in St Ann’s Road, Tottenham, London. In 1921 the partnership with Grimshaw Baxter was dissolved and Frank Elliott joined a well-known firm of Bell Founders and Clockmakers, Gillett and Johnson Ltd, in Croydon. In 1923, two years later, he took over their clock factory and formed the famous company of F.W. Elliott Ltd. He was joined by his two sons, Leonard and Horace Elliott, who had served their apprenticeships in the trade. The third son, Ronald, joined the company in 1929. Elliott's started to produce clocks for the armed forces when war was declared in 1939, together with test gear and apparatus for the Rolls Royce engines used in the RAF planes. In 1944, Frank Elliott died at the age of 69 and Horace Elliott assumed the role of Managing Director. Whilst Horace controlled sales from a showroom in Hatton Garden. In 1952, Horace Elliott was elected Chairman of the British Horological Institute in the same year as Tony, one of Horace's sons, joined the company after he had completed training as a cabinet maker. Ronald Elliott died suddenly in 1966, at the age of 54, his son Peter continued to manage the company until 1998 when it ceased trading. An item that is now regarded as vintage, sought by horology collector’s worldwide and is in excellent condition. The item is unique in that it was made specifically for ships by a well-known British clock manufacture. Its provenance is well established as the serial numbers on the clock indicate it was made in 1950. Production by F.W Elliott for this design of ships clock ceased in 1959. Clock has a gold color case with a 150 mm white painted dial and Roman numerals. The movement has a balance wheel escapement and a slow-fast timekeeping adjuster to the top of the dial. The back of the clock is stamped “made by F W Elliott Ltd of Croydon” and a serial number 21B/829, an additional number 994 is also stamped on the back casing. Thsi model clock finished production in 1959. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock, f w elliott, maritime clock

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

Black and white photograph of the Lilliput siding platform and stationWritten at top of photo: "Lilliput Railway Station: On back of photo: "Lilliput Siding - A solitary truck awaits loading. 1.7.1960" "Located at Map Ref 526 032" Rubber stamp: "Photographed by Norman W. De Pomeroy"railway stations, lilliput