The first five pages are photocopies of photos:- 2 of Rae's Crushing Works; Victoria Quartz on Victoria Hill, Ironbark; Looking North from Old Chum Hill to the Victoria Hill; Victoria Hill - from Rae's Open Cut. Introduction covers location of buildings and mines. Mentioned are:- North Old Chum Mine, Ballerstedt's First Open-cut, Quartz Veins (Spurs), rock formations pitching North, Prospecting shafts 1929, Concrete dam, Engine beds of Lansells Big 180 Mine, Lansells Big 180 Shaft, twenty stampers crushing battery, Lansell's Cleopatra Needle type chimney, Victoria Quartz Mine, Victoria Quartz dams, Rae's Open-cut, Quartz once roasted here to an intense heat, Anticlinal Arch New Chum Line, small primitive tunnels, Prospecting tunnels, Floyd's small 5 head crushing battery, Great Central Victoria (Midway) Shaft, Great Central Victoria engine-bed, Ballerstedt's small 24 yard claim, The Humboldt, Adventure ground, The Advance, Luffsman & Sterry's Claim, A round shaft. Small piece of paper with 'Notes on Victoria Hill complete. Notes prepared by Albert Richardson.document, gold, rae's crushing battery, rae's crushing battery, rae's crushing works, victoria quartz mine, from old chum hill, victoria hill from rae's open cut, ironbark, hercules & energetic, midway, wittscheibe, great central victoria, mr & mrs conroy, central nell gwynne, gold mines hotel, john brown knitwear factory, new chum & victoria, rotary club of bendigo south, north old chum, ballerstedt's first open-cut, lansell's big 180 shaft, cleopatra needle type chimney, a roberts & sons, mr e j dunn, h harkness & sons, eureka extd, new chum railway, pearl, inrush of water at victoria quartz, floyd's small 5 head crushing battery, great central victoria (midway), ballertedt's small 24 yard claim, humboldt, humboldt, great central victoria, victoria hill, bendigo & vicinity 1895 p51, j n macartney 1st edition 1871, bendigo goldfield registry 1871, plan of new chum line, mr rae anderson, annals of bendigo obituary 1904, bendigo advertiser, b m l records mines dept, patterson's goldfields of victoria, dickers mining record 23/11/1861, australian mining standard special edition 1/6/1899 p40, bendigo mines ltd, chinese joss house, fortuna, the victoria goldfield 1851 to 1954, the victoria hill 1854 to 1949

WE REMEMBER ANZAC - 100 years of ANZAC - THE SPIRIT LIVES 2014-2018 - SECONDARY RESOURCE .1) .2) 'WE REMEMBER ANZAC' .3) 'COMMEMORATIVE CEREMONY' .4) 'Memories & Memorabilia - Recognising and Preserving Australia's War Heritage' .5) 'Candour. Stories in the words of those who served 1914-1918.' .6) Over a Century of Service 2015 (Calendar) .7) 'ANZAC CENTENARY' .8) 'ANZAC PORTAL' .9) '2015 Anzac Day School's Awards'.1) Box folder - cardboard, white & gold print front, spine, back. Illustrated - collage colour photographs - medals, poppy, rising sun badge, soldier in silhouette. .2) Softcover, cardboard with fold in front flap, white & gold print, spiral bound, colour collage photographs - poppy, medals, troops. Pages - 86 pages, cut, plain, white, illustrated black & white, colour photographs, work sheets. .3) DVD inside cover flap. .4) Soft cover, cardboard, spiral bound, black, print front, illustrated sepia photograph soldier with letter and slouch hat. Pages - 88 pages, cut, plain, white, illustrated black & white, colour photographs, posters. .5) Soft cover, cardboard, white print front & back, illustrated - collage colour and sepia photographs of service personnel, letters, pens, brooch. Pages - 56 pages, cut, plain, white, illustrated colour, black & white photographs, medals, paintings. .6) Calender - soft cover, cardboard, light brown and black print front and back. Illustrated - sepia and colour - in silhouette - Troops of 1st Australian Division and members of 4 RAR. Pages - cut, plain, white, illustrated colour, black & white photographs from Boer War to Afghanistan. .7) .8) Card, cardboard with Webkey attached. Card - white & dark red print, small colour, sepia illustrations. .8) Key - metal with words printed - 'ANZAC PORTAL'. In plastic pocket. .9) Leaflet - lightweight cardboard black, white, yellow print front and back. Illustrated - black & white photograph of troop ship dockside. educational kit, anzac centenary

Piano accordions were one form of music used to entertain families and friends prior to electricity being available.Possibly used by Eric Heider (Tenny) Wittingslow who married Iris Baker of Tawonga as his death notice was stored in the same box as the accordion.Wooden handles at each end, one has a leather strap over it. When pulled out wooden ends are attached to the handles and to a thick 'cardboard'. Then 3 red wire frames with green 'cardboard' covering, then wood, then 3 more red & green, then wood, then 3 more red/green and then another thick 'cardboard' attached to the opposite handle. These are the bellows pulling air in and out. The handle with the strap has a keyboard beside it while the other handle has silver knobs that move in when pressed. One side of its original box reads - "The Dudley' Trade Mark ' Nightingale' Accordeon / No. 8018?One handle has 'Dudley'. The other 'Dudley=Accordion'. The middle section has on the end of each of the 4 parts - in metal:- Trade mark with bird in the middle of a triangle. Followed by -Nightingale/Registered/Best Quality/Made in Germany piano accordion, dudley nightingale, musical instrument, dudley acccordeon

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the Standard Canadian style, would have emigrated to Australia with its owner, a reasonable young professional or executive of the Hudson Bay Tobacco Company in the late 1800s or early 1900s. It is the type of pipe well suited to a harsh rural backdrop and with its owner found the Kiewa Valley a more relaxed environment than the Canadian Indian locations. The value of this pipe to the original owner, who would have sealed many trade contracts during the Canadian Indian smoke rituals In the late 1800s, is indicated by the long voyage to Australia and the Kiewa Valley. However with the health related restrictions placed on public smoking in the early 2000s, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few and not with this pipe. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco. Pipes such as this item show that smoking was not only part of the lifestyle of the era but also that it was part of a ritual (especially to the Indians of the Canada Hudson Bay region) that sealed a brotherhood not only socially but also politically and economically.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a very exclusive pipe it blended into the tobacco industrial environment of the Kiewa Valley and its surrounding districts. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco industry and the levels of men smoking pipes was enhanced by the readily supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.This pipe has a straight shank and stem and its style is 'standard Canadian'. The pipe has a permanent filter and a stainless steel band with the initials of the Hudson Bay Tobacco Company and its seals stamped on it.. The bowl and shank are one piece of appropriate shaped wood. The bit and bore are made from bakelite (dark brown in colour). The pipe is fashioned in the form of the clay pipes used by trappers, in the late 1800s early 1900s. It has a "rest" lug at the bottom of the bowl similar to clay pipes. This pipe has its own pipe case with wood reinforcement running the entire pipe shaped contour.On the stainless steel at the mortise and tenon junction is stamped "HP" and below that are stamped symbols of a ship's anchor, a lion and a tobacco leaf.tobacco, pipe smoking, smoking accessories

This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture

A wooden racquet with solid, convex throat, cloth tape shoulder reinforcements, and deep grooved handle. Features early use of laminated wood strips, nailed to side of stem, and up along throat and lower head. Inscription across throat on obverse: TUNMER/"SPECIAL". Inscription across butt cover, in French: A.A. TUNMER/& CO.//PARIS/A GARDER SOUS PRESSE. On the throat on reverse, is inscription in French and Latin: MARQUE DE FABRIQUE/DEPOSEE/ATA/IN HOC SIGNO VINCES. Materials: Wood, Gut, Cloth tape, Ink, Glue, Lacquer, Leather, Metal, Painttennis

A John Holden, Super Holden tennis racquet, with string whipping around shoulders and lower shaft, plastic collar around upper shaft, patterned wood laminations across shoulders, a Fairway leather handle grip, and, a slightly opened throat, with shoulders converging to form the shaft. Inscription across throat, on obverse: SUPER/HOLDEN. Across throat on reverse: JOHN HOLDEN/232 BAKER ST./LONDON. N.W.1. Patent number along right side of shaft. Manufacturers details on butt cover. Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Plastic, String, Leathertennis

A Spalding 'Challenge Cup Oversize Bow' wood tennis racquet. Model name printed across throat on obverse and reverse. Manufacturer's logo features along shaft on both sides of shaft. On left side of shaft is printed: HANDCRAFTED NORTH AMERICAN/ASH AND HARDWOODS and OVERSIZE BOW FOR GREATER HITTING AREA. On other side of shaft is printed: FIBER REINFORCED/THROAT, BOW, AND SHAFT. Grip wrapped with leather printed with manufacturer name. White plastic butt cap features maker logo. Materials: Wood, Metal, Lacquer, Glue, Ink, Nylon, Paint, Plastic, Leathertennis

A Spalding Pancho Gonzales-endorsed 'Prize Cup' wood tennis racquet. String whipping reinforcements around shoulders and around shaft. Manufacturer's name & model name printed across throat on obverse and reverse. Model name and manufacter's logo printed along shaft on both sides of racquet. Grip wrapped with perforated leather. Large Spalding 'S" logo and 'JAPAN' printed onto butt cap. Decal on side of shaft reads: CUSTOM DESIGNED BY SPALDING/FOR CHAMPIONSHIP PLAY. Materials: Wood, Metal, Lacquer, Glue, Ink, Nylon, Paint, Leather, Plastic, Stringtennis

Was located in the stables at Mount Buffalo Chalet. It was used to record the names of horses that were ridden by Chalet guests when they were holidaying at the Chalet. 'Admiring the rugged beauty of the Buffalo Plateau and exploring its scenic attractions ...quickly became part of the Mount Buffalo Chalet tourist experience...The Chalet facilitated the experience by hosting guided tours, including trail rides on horseback...the horses remained at the Chalet for decades, and have been remembered with great affection, as demonstrated by the honour roll for Chalet horses and various commemorative plaques.' (Pg 98. Historica) Many of these horses are still remmbered by former guest of the Chalet. Granite and Punka were legendary and plaques in their honor are mounted on the large granite boulders in the stableyards.Listed in Draft Inventory of Significant Collection items. Appendix A.3, Snow sports equipment and other recreational items. (Pg 166 Historica).Wooden plaque with names painted onto strips of leather fixed to a board. The board is made of two sections of wood and is arched at the top and squared at the base. The piece at the top that appears to be earlier and has gold painted inscriptions with decorative scrolling around the edge. The board has leather strapping around the edge and two stirrups threaded onto leather at the base. The upper section of the board has all the names painted onto leather strips. The lower section of the board has some names painted onto strips but also some names are scratched directly onto the wood.At top of plaque, "ROLL OF HONOUR /TO / OUR FRIENDS - / THE CHALET HORSES, / WHO GAVE US MANY HAPPY HOURS / BUT WHO HAVE SINCE MOVED / "DOWN THE HILL". FROM THE / TIME OF "PUNKA" / WHO SERVED / FAITHFULLY FOR 20 YEARS" Underneat this are the names of the individual horses starting with , "PUNKA....."

A scythe is an agricultural hand tool for mowing grass or reaping crops. It was largely replaced by horse-drawn and then tractor machinery. A scythe consists of a wooden shaft and a long, curved blade is mounted at the lower end, perpendicular. Scythes always have the blade projecting from the left side when in use. Mowing is done by holding the handle , with the arms straight, the blade parallel to the ground and very close to it, and the body twisted to the right. The body is then twisted steadily to the left, moving the scythe blade along its length in a long arc from right to left, ending in front of the mower, thus depositing the cut grass to the left. Mowing proceeds with a steady rhythm, stopping at frequent intervals to sharpen the blade. The correct technique has a slicing action on the grass, cutting a narrow strip with each stroke Mowing grass is easier when it is damp, and so hay-making traditionally began at dawn and often stopped early, the heat of the day being spent raking and carting the hay cut on previous daysEarly settlers and market gardeners used these scythes as they established their farms in Moorabbin Shire c1880A large metal scythe with a wooden handle x 2early settlers, pioneers, market gardeners, moorabbin, bentleigh, brighton, cheltenham, tools, blacksmiths

A spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Spokeshaves can be made from flat-bottom, concave, or convex soles, depending on the type of job to be performed. They can include one or more sharpened notches along which the wooden shaft is pulled in order to shave it down to the proper diameter. Historically, spokeshave blades were made of metal, and the body and handles were wood. Unlike a drawknife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. By the twentieth-century metal handles and detachable blades had become the most common. A convex, wooden, variant of the spokeshave is called a travisher; at one time mostly used in chairmaking.A tool of the cooper and other woodworking tradesmen that has been in use since the making of barrels and wooden buckets for hundreds of years without much change to the design or how the tool is used.Spokeshave, with two wooden handles on either side. Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, coopers tools, spokeshave, barrel making, wood plane

A spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Spokeshaves can be made from flat-bottom, concave, or convex soles, depending on the type of job to be performed. They can include one or more sharpened notches along which the wooden shaft is pulled in order to shave it down to the proper diameter. Historically, spokeshave blades were made of metal, and the body and handles were wood. Unlike a draw knife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. By the twentieth-century metal handles and detachable blades had become the most common. A convex, wooden, variant of the spokeshave is called a travisher, at one time mostly used in chair making.A tool of the joiner and other woodworking tradesmen that has been in use since the making of furniture for hundreds of years without much change to the design or how the tool is used to smooth and shape timber.Spokeshave, Marked AH, (believed to be owner)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Before drills and braces, T-shaped augers were used to poke holes into wood, while smaller gimlets were used to start them. Auger handles were usually made of a piece of hardwood that was sanded, rounded, or even contoured to give the user a firm grip. Bits on spoon augers essentially carved a hole in the piece of wood, and had to be periodically removed to clear the chips. Spiral-bit augers were precursors to modern drills, whose bits cleared the hole of chips as the user drilled. A significant advance on the auger was the brace, which was originally designed with a single, permanently fixed bit at its end. Eventually, though, braces were designed with sophisticated chucks to accommodate replacement bits, as well as bits of different sizes and for various purposes A steel spiral bit Auger* pioneers, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, brighton, tools, craftsman, carpenters, , blacksmiths, builders, farmers, metalwork, woodwork, drills, augers, gimlets

A spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Spokeshaves can be made from flat-bottom, concave, or convex soles, depending on the type of job to be performed. They can include one or more sharpened notches along which the wooden shaft is pulled in order to shave it down to the proper diameter. Historically, spokeshave blades were made of metal, and the body and handles were wood. Unlike a drawknife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. By the twentieth-century metal handles and detachable blades had become the most common. A convex, wooden, variant of the spokeshave is called a travisher; at one time mostly used in chairmaking.A tool of the cooper and other woodworking tradesmen that has been in use since the making of barrels and wooden buckets for hundreds of years without much change to the design or how the tool is used.Spokeshave, with two wooden handles on either side. Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, coopers tools, spokeshave, barrel making, wood plane, wagon making, joiners tools, carpenter tools

The photograph shows the popular tourist attraction, Loch Ard Gorge, which is located along the Great Ocean Road in Victoria, near Port Campbell. The gorge is named after the famous sailing ship, the LOCH ARD, that was wrecked there in 1878. Only two of the 54 passengers and crew survived. FOYLE “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph, the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St, Warrnambool, which operated between 1889 – 1919. A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August 1907, mentions that in that year Warrnambool would celebrate the 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded the contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built-in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke and opened the case of brandy, which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged, and some of it was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. Foyle's photographs date from the late 19th century to the early 20th century, representing a time of growth in the Warrnambool district and a time when the still relatively new technology of photography was more available to the community.Photograph of Loch Ard Gorge. This sepia coloured rectangular photograph is mounted on a brown cardboard backing that has a wood grain pattern. The photograph has an inscription above it, below it, and in the bottom left corner. It was made for the purpose of a presentation by the Port Campbell Progress Association. Printed above the photograph "PRESENTED BY THE PORT CAMPBELL / PROGRESS ASSOCIATION". Printed below the photograph "LOCH ARD GORGE / PORT CAMPBELL". Hand written on bottom left corner "Foyle". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photograph, port campbell, port campbell progress association, foyle photograph, foyle photographic studio warrnambool, warrnambool photo studio

Oral tradition suggests that this pig came from Papua/New Guinea and was probably in the old Warrnambool Museum which was situated in the Mechanics Institute Building and closed in the 1960s (site of Warrnambool Library today). Illustrations have been found of similar carved pigs originating from the Sepik River area (Tambanum Village) of Papua/New Guinea and of similar items collected early in the 20th century. It is known that the old Museum had a considerable collection of South Sea Islands material but those items appear to have been mainly collected from the Fiji area. If the possible provenance of this item (Papua/New Guinea and old Museum) can be proved then it is a significant item as an example of an indigenous carving which may be more than 60 years old. The pig is very important in Papua/New Guinea as a source of food and a barter/currency item. Otherwise, with provenance not established, the item is useful for displayA brown coloured pig carved out of wood with several cracks on rear and front leg. White coloured incisions on snout, back and ears in patterns reminiscent of Pacific Island indigenous carvings. One ear broken and mended and the other with the top piece missing. Incised with patterns as described abovewarrnambool, old warrnambool museum, papua/new guinea culture

This doll was a highly treasured toy for a girl. The amount of wear and tear given to this doll indicates the great attachment to and comfort that its owner had with it. This doll could have been on a farm or cattle property in the Kiewa Valley rather than in the town.Due to the lack of social activities in the valley during the period, self amusement at home and limited interaction outside of the valley would have been this dolls prime role for its owner. The time between the two World Wars was one of recession and limited funds outside that required for survival. This is clearly demonstrated by the painted face and home made repairs to the body and limbs Porcelain/ceramic doll with painted face features. Half ceramic arms and legs. One leg missing.one arm loose Stitched dress with lace bodice hand made Body padded with cloth and fine wood shavings filler. Scarf lace weavedoll, porcelain, toy, lace, girls' play

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(19840. In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions. The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms which still have the tobacco drying sheds and now converted into hay sheds. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. This particular photograph shows the lack of understanding by farmers and the contracted labour, at that time, and is demonstrated by the lack of protection of hands when handling seedlings and attached soil. Hand and foot protection was rarely used, even when later warnings were issued of the carcinogenic toxicity of the soil. The majority of farm owners, up until Health authorities stepped in the later stages of 1900s, were skeptical of city scientists' "carcinogenic" health warnings and it was only after the younger generation of farmers, who had graduated from Agricultural colleges, encompassed the scientific approach to farm management. The "she'll be right mate" attitude of the farming/rural community has since the 1970s been slowly dissipating. Stricter controls of herbicides and pesticides used in agriculture are now in force.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054A, KVHS0054C to KVHS 0054FA sign, which has been removed from the picture at some previous point in time is "Pulling seedlings for planting"tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour, photograph

This Plaque was presented to the Shire of Ballarat by the "Carry On" club.This club,formed in 1932, to provide help for the welfare,rehabilitation and education of ex-servicemen.To aknowledge the help given to the "Carry On" club by the Shire of BallaratRectangular shape coming to a curved point at the base.This is dark wood on which is a wreath with the rising sun symbol in copper.beneath are the words CARRY ON in a flowing ribbon.At the base on a brass plate is inscribed,To the Ballarat Shire in Apreciation for your Help & Service. 16-12-1992.CARRY ON. Inscription - To the Ballarat Shire In Appreciation for your Help & Service 16-12-1992.carry on club.shire of ballarat.plaque

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A 12 page booklet with a buff cover containing information about the music - 'The Rainbow', the composer - Dr Thomas Wood, the guest conductor and music scorer - Frank Wright and the solo cornetist - Ken Smith. Along with the programme the booklet also contains the words of the work.frank wright, conductor, brass band, grand armistice concert, polikoff canteen, the rainbow, dr thomas wood, ken smith

Postcard, black and white: On image ' Hargreaves Street, Bendigo' V. 38.' bottom LH side. Image shows shop fronts on either side of street, cars parked on kerb. Verandahs intact on shops. W.H. Ray, Baker & Woods names visible.Valentine'sbendigo, streetscape, hargreaves street, bendigo, hargreaves street. baker & woods, w.h. ray

Loan application from E. McGoldrick, McCrae St., Wood Contractor, to City Loan and Discount Co., for 5/-/- with weekly instalments of 5/-. Dated 30 November, 1888. light blue six pence stamp on a 5 pound cheque dated 30.11.1888business, legal, e. mcgoldrick, wood contractor, connelly, tatchell & dunlop, city loan and discount co., loans

Cohn Brothers Victoria Brewery shares of Joseph J Tooth transferred to Cohn dated 28th August 1895. Duty Stamp. Rectangular red coloured Wood & Mc Nair, Beehive Bendigo and oval red Menzies & Moule Melbourne hand stamps.bendigo, industry, cohn bros brewery, wood & mcnair. menzies & moule. joseph j tooth.