Black and white photograph of firemen on cart outside brick building. (2 copies)Written on backing sheet, "Ringwood Fire Brigade New Station. 1. Sam Brown, 2. Les Jones, 3 Clarance Burns, 4. Jack Wilkins, 5. Frank King (Station Officer), 6. Dave Anderson, 7. George Burns, 8. Percy Griffen". Writing on backing sheet of second photo states photo taken in 1930s.

Wooden pulley wheel section from the wreck “Newfield”. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast and at about 1:30am ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The Port Campbell rocket crew arrived and fired four rocket lines, none of which connected with the ship. A local man, Peter Carmody, volunteered to swim one mile to the ship with a line to guide the fourth and final lifeboat safely to shore. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Flagstaff Hill Maritime Museum has several artefacts that have been salvaged from the wreck. See also other items in the Flagstaff Hill Newfield Collection.The report from SHP documented the following in regards to the Newfield collection: Flagstaff Hill’s collection of artefacts from the Newfield is of historical and archaeological significance at a State level, because of its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of its relationship between the objects. The Newfield collection is archaeologically significant as it is the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 (Living with natural processes). The collection is also historically significant for its association with the shipwreck. The Newfield collection meets the following criteria for assessment: Criteria A: Importance to the course, or pattern, of Victoria’s cultural history Criteria B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criteria C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history This item is an oval-shaped brown and orange wooden shell from a ship’s pulley. The original wooden material is now petrified but the lighter coloured concentric rings of the wood's grain are still visible. A metal sheave or drum is fitted into the centre hole and some of the edge of its sheave’s collar has corroded and broken away. The collar has three holes of equal size that are evenly spaced around it. The bearing ring is now detached but still connected to the pulley with a string on which a label is attached. Most of the six cylindrical metal roller bearings are sand encrusted but some are still visible. Recovered from the wreck of the ship NEWFIELD.The pulley has a string through it that attaches it to the bearing. The label on the string bears the handwritten words “PULLEY WHEEL / NEWFIELD / PETER ROLAND”.block, flagstaff hill, maritime museum, shipwreck coast, warrnambool, peter carmody, carmody, newfield, shipwreck, pulley, wheel, pulley block, sheave, drum, peterborough, south west victoria, rocket, rocket crew, shipwreck artefact, flagstaff hil maritime museum

The name on the letterhead, “Canning Pierhead North” is the name of the Liverpool Pilot Authority, which was situated in 1883 at Cannon Pier on the River Mersey where ships entered to travel to Liverpool. The logo on the letterhead belongs to the Liverpool Shipwreck and Humane Society. The letter is addressed to “Mr Peter Carmody, Port Campbell, south coast of Australia”, and reads as follows: “January 21st 1893, Dear Sir, I have the pleasure to forward to you by post herewith a Silver Medal and a Certificate of Thanks, voted to you by the Committee of the Liverpool Shipwreck and Humane Society for your courage and humanity in going out into the surf to rescue the survivors of the crew of the barque “Newfield” which vessel was wrecked near Port Campbell on the 29th of August last. Be kind enough to send a few lines acknowledging receipt of the testimonials. I am Dear Sir, Yours Faithfully, Robert P. J. Simpson, Secretary.” The medal accompanying the letter is the Liverpool Shipwreck and Humane Society’s “Bramley-Moore medal for saving life at sea 1872”. The Society was formed in 1839. In 1872 Mr John Bramley-Moore donated £500 on condition that the medal have the specific inscription above on its reverse. The Bramley Morre medal was first awarded in 1874 and records show that since that time only one gold medal has been awarded, twenty-two silver medals and seventeen bronze medals, the last being in 1945. This Bromley-Moore medal was awarded to Peter Carmody for his bravery in saving lives on the Newfield shipwreck. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Medal and Letter of Congratulations join other items in the Newfield collectionlFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck. The Letter accompanying the Medal for Bravery awarded to Peter Carmody is significant because the attempt to save lives is associated with the shipwreck Newfield.A copy of a letter from the Liverpool Shipwreck and Humane Society to Peter Carmody in reference to the bravery of Peter Carmody over the wreck of the "Newfield". The letter is divided into 2 columns and is written in longhand using black ink on both columns. There is a letterhead in the centre of the left hand page and a round logo printed or stamped on the top of left of the left hand page. The centre of the logo shows a design of a man kneeling on a floating part of a wreck. He is rescuing a child from the sea. On the top of the circle of the logo a design shows a long-legged hen cormorant with extended wings holding an olive branch in its beak. There is also the name of a city printed onto the page under the letterhead. The letter has been folded into half along its long side, then in half again along its long side then into thirds. The letter is dated January 21st 1893. “CANNING, PIERHEAD, NORTH” and “LIVERPOOL” are printed on the top left hand page. The logo “LIVERPOOL SHIPWRECK AND HUMANE SOCIETY” is printed or embossed on the paper.28 august 1892, bramley moore, carmody, certificate of thanks, curdie's river, flagstaff hill, flagstaff hill maritime museum, gerard irvine, james mckenzie, liverpool shipwreck and humane society, maritime museum, medal, newfield, nineteenth century, norma bracken, peter carmody, port campbell, rescue, robert simpson,, shipwreck, ship wreck, stuart bracken, victorian shipwrecks

This bearing cap is thought to be from a donkey winch engine, (or steam donkey, or donkey winch), which is a small secondary steam engine with a cylindrical shaped boiler. In 19th century merchant sailing a steam donkey was often used in marine applications such as to help raise and lower larger sails, load and unload cargo or to power pumps. The bearing cap could have been used on the donkey engine to hold the rod of the winch gear wheel in place, or bolted to another bearing cap around the neck on the top of the boiler’s cylinder, connecting it to the flue. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Bearing Cap joins other items in the Newfield collection.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.Brass bearing cap from the wreck of the sailing ship “Newfield” is possibly from a donkey winch engine. The half-circle shaped cuff with a rectangular brass block attached to the outside of each end of the half-circle. Both blocks have a round hole in their centre and are approximately the same depth and width as the cuff. Midway around the half-circle cuff is another brass block that is about twice the depth of the cuff. It appears to have been a circular shape that has been modified to match the width of the collar, having had the sides of the circle cut off to leave straights edge parallel to the edges of the cuff. In the centre of this block is another hole, and there appears to be the head of a bolt inside this hole. The bearing cap is lightly encrusted.1893, flagstaff hill, flagstaff hill maritime museum, maritime museum, warrnambool, newfield, 1892, 28 august 1892, port campbell, shipwreck, nineteenth century, ship, curdie s river, victorian shipwrecks, barque, ship wreck, 29 august 1892, 19th century, bearing cap, donkey engine, donkey winch, steam donkey

These remains of a block, shackle and wire are from the sailing ship Newfield. This would have been one of the hundreds of blocks and shackles used in the rigging of the vessel. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1869 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt. On the night of 28 August 1892, the Captain mistook the Cape Otway light for that of Cape Wickham (King Island) and altered tack to the north and east putting the vessel on a collision course with the Victorian coast. At around 3:40 am the Newfield struck rocks about 100 yards from shore, and 5 feet of water filled the holds immediately. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The starboard lifeboat was cleared for lowering with two seamen and two apprentices in her, but almost as soon as she touched the water she was smashed to bits against the side of the vessel, and only one of the four reached safety ashore, able seaman McLeod. The rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile offshore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one-man style of navigation" and that the Captain had not heeded the advice of his crew. For his heroic efforts, Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at sea on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody's granddaughter Norma Bracken and her son Stuart Bracken on 25th May 2006. Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is additionally significant because of the medal awarded to a local man Peter Carmody. The Newfield collection historically also represents aspects of Victoria's shipping history and its association with the shipwreck.This is what remains of a block, shackle and wire from the wreck of the sailing ship “Newfield”. The object is heavily encrusted. The exterior (cheeks) of the block is missing. The disc of the block has a channel part way around its face, about 2 cm from the edge. Two long, narrow plates are joined onto the centre of the disc’s face with a bolt through the centre. The other ends of the two plates join onto the elbow of the shackle. The elbow of the shackle is also joined onto a rod. At the other end of the rod can be seen the ends of thick wire strands.block, 1893, flagstaff hill, flagstaff hill maritime museum, peter carmody, newfield, 1892, port campbell, shipwreck, ship, victorian shipwrecks, barque, ship wreck, peterborough, sailing ship, 29 august 1892, block and shackle, curdies river, bramley-moore medal

This large brass porthole is from the sailing ship Newfield this would have been one of the many port holes in the vessel used for light and ventilation. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1869 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt. On the night of 28 August 1892, the Captain mistook the Cape Otway light for that of Cape Wickham (King Island) and altered tack to the north and east putting the vessel on a collision course with the Victorian coast. At around 3:40 am the Newfield struck rocks about 100 yards from shore, and 5 feet of water filled the holds immediately. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The starboard lifeboat was cleared for lowering with two seamen and two apprentices in her, but almost as soon as she touched the water she was smashed to bits against the side of the vessel, and only one of the four reached safety ashore, able seaman McLeod. The rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile offshore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one-man style of navigation" and that the Captain had not heeded the advice of his crew. For his heroic efforts, Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at sea on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody's granddaughter Norma Bracken and her son Stuart Bracken on 25th May 2006. Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is additionally significant because of the medal awarded to a local man Peter Carmody. The Newfield collection historically also represents aspects of Victoria's shipping history and its association with the shipwreck.Heavily encrusted large brass porthole, complete with glass intact object is a circular, thick glass window surrounded by a round brass frame and attached to a round brass porthole frame with 9 bolt holes. This porthole was recovered from the wreck of the NEWFIELD.Nonewarrnambool, peter carmody, newfield, port campbell, shipwreck, nineteenth century, ship, victorian shipwrecks, peterborough, peter ronald, dog screw, newfield porthole, bramley-moore medal, flagstaff hill maritime museum, shipwreck artefact, ship fitting, ship window

This skylight frame would have been fitted on the Newfield’s poop deck (or raised deck that forms the roof of a cabin at the aft or rear of the ship). It would have covered and protected a glass pane that allowed light to enter the area below desk. The glass pane from the skylight is missing. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1869 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt. On the night of 28 August 1892, the Captain mistook the Cape Otway light for that of Cape Wickham (King Island) and altered tack to the north and east putting the vessel on a collision course with the Victorian coast. At around 3:40 am the Newfield struck rocks about 100 yards from shore, and 5 feet of water filled the holds immediately. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The starboard lifeboat was cleared for lowering with two seamen and two apprentices in her, but almost as soon as she touched the water she was smashed to bits against the side of the vessel, and only one of the four reached safety ashore, able seaman McLeod. The rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile offshore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one-man style of navigation" and that the Captain had not heeded the advice of his crew. For his heroic efforts, Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at sea on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody's granddaughter Norma Bracken and her son Stuart Bracken on 25th May 2006. Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is additionally significant because of the medal awarded to a local man Peter Carmody. The Newfield collection historically also represents aspects of Victoria's shipping history and its association with the shipwreck.Skylight, frame only. The heavily encrusted brass framework has eight bolts around the long side, and four metal bars forming two ‘v’ shapes across the centre. The frame is, slightly concave towards the inner side. The shorter ends of the frame each have a ‘U’ shaped bracket attached in the centre. The shorter ends are wider on one end and taper towards the other end to about a quarter of the thickness. The frame was recovered from the wreck of the NEWFIELD.Noneflagstaff hill maritime museum, newfield ship wreck, alexander stephen & sons, brownells & co, captain george scott, great ocean road ship wreck, peter carmody, bramley-moore medal, liverpool shipwreck and humane society, skylight cover, skylight frame, ship fitting, light cover, newfield

This bracket was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perishedFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.‘L’ bracket, copper, 3 holes on one side, 2 holes on the other1893, shipwrecks, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, newfield, 1892, 28 august 1892, port campbell, nineteenth century, victorian shipwrecks, barque, norma bracken, peterborough, 29 august 1892, peter ronald, curdies river, bracket

This deck light was recovered from the wreck of the Newfield in 1973. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished. Local man Peter Carmody was recognised for risking his life in order to help save the lives of the ship's crew. In 1893 he received a letter and accompanying limited edition of the Bramley-Moore medal for saving life at sea; 1872" medal and certificate from the Liverpool Shipwreck and Humane Society. Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreckDeck light recovered from the wreck of the sailing ship “Newfield. Oval semi-spherical shape of clear thick glass.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, deck light, newfield, nineteenth century, peter ronald, peterborough, port campbell, shipwrecks, victorian shipwrecks

This porthole frame was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.A porthole frame from the wreck of the Newfield. The porthole and glass are missing. It is encrusted, cracked and eroded. There are 8 retaining bolt holes with the remnants of 7 bolts remaining. On the inside are the remains of the hinge flange and the two release screws. Restored, good condition.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, newfield, nineteenth century, peter ronald, peterborough, port campbell, porthole, porthole frame, shipwrecks, victorian shipwrecks

This Steam Engine Coupling was recovered from the wreck of the Newfield and is thought to be part of a Donkey Engine (or steam donkey, or donkey winch), which is a small secondary steam engine with a cylindrical shaped boiler. In 19th century merchant sailing, a steam donkey was often used in marine applications such as to help raise and lower larger sails, loading and unloading cargo or for powering pumps. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreckCoupling is believed to be part of the Donkey winch's steam-engine. Threaded brass collar (with side outlet) attached to a copper pipe via a locking nut, and a four holed flange with bolts and coupling plate the other end.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, donkey engine, newfield, nineteenth century, peter ronald, peterborough, port campbell, shipwrecks, steam engine coupling, steam donkey, victorian shipwrecks

This porthole and porthole cover was removed from the stern of the Newfield wreck, on the starboard side. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreckPorthole frame, including porthole and porthole cover, from the wreck of the Newfield. Porthole secured by nine bolts. It was removed from the stern of the wreck on the starboard side. there is some marine growth on the porthole. The cover still opens. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, newfield, nineteenth century, peter ronald, peterborough, port campbell, porthole, porthole cover, shipwrecks, victorian shipwrecks, porthole frame

This small porthole was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreckSmall porthole frame (inner), from the wreck of the Newfield. Glass missing, brass with 2 screw dogs lugs and one hinge. Restored, good condition.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, newfield, nineteenth century, peter ronald, peterborough, port campbell, porthole, shipwrecks, victorian shipwrecks

This Non-return valve was recovered from the wreck of the Newfield. Non-return valves can be used to pump water out.of a vessel The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.A non-return valve used to connect to a hose on a bilge pump on a vessel. This valve is from the ship Newfield and was used to pump water out of the vessel. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdies river, newfield, nineteenth century, non return valve, peter ronald, peterborough, port campbell, shipwrecks, victorian shipwrecks, valve, bilge pump

Leather bound Holy Bible c. 1854 owned by a member of the Sutton Family. Brass corners with missing clasp non-fictionc. 1854 Holy Bible owned by a member of Henry Sutton's familyholy bible, bible, henry sutton, king james bible, mrs h. sutton, ron sutton, jack sutton

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From: Glen Eira Heritage Management Plan 1996 by Andrew Ward In 1856, John Allee, a builder from Brighton, purchased C.A. 37 on the south-west corner of Glenhuntly and Kooyong Roads. The land comprised just over 45 acres. By 1863, Francis John Sidney Stephen, a lawyer and cousin of J. Wilberforce Stephen, owned most of lot 37. By 1866, Stephen had a built a "small mansion" named ''Burreel". It was a brick house and Stephen lived there until 1882. By 1884, Mrs Buxton of Hillside Terrace, East Melbourne, had purchased the property. Richard Buxton, a gentleman was listed as occupant and the house described as "brick, eight rooms". NAV was £300. Richard Buxton continued residency in 1887 however in 1888, George Allen, music seller, became occupant. At that time the house had thirteen rooms on twenty-three acres of land. Twelve people lived there and NAV was £920. In 1900, Daniel Luxton, stock and sharebroker and the Honourable John Taverner, M.H.A. leased the property. Fourteen people lived there. Mrs Buxton continued as owner. By 1910, ownership had passed to Mrs Mary Neate, who converted the house to a nursing home. The land had been subdivided by 1913 and sold by ''Buxtons Estate". Burreel Avenue, Baxter, Buxton and Hoddle Streets were created. "Burreel" was rated to Burreel Avenue and stood on lot 13 with frontages to Burreel Avenue and Kooyong Road of 198' and 214'. The house had ten rooms. NAV was £60. Mary Neate, a nurse, continued as owner/ operator of ''Burreel" nursing home in 1927. At that time there were sixteen rooms and fourteen residents. NAV was £100. Mrs Neat remained there until 1947. In 1948, the house was turned into apartments. In the 1980's, the Alexander family purchased it and restored it to a private residence.Burreel 331 Kooyong Road, ELSTERNWICK VIC 3185 - Property No B4950 National Trust https://vhd.heritagecouncil.vic.gov.au/places/65648 This is a large and substantially intact example of the grand villas of nineteenth century Melbourne. The bulk of the house most probably was built in 1866-1868 for Francis John Sidney Stephen, a prominent and highly regarded Melbourne solicitor and a member of an illustrious legal family. Stephen conducted a lucrative private practice and in 1845 was appointed first solicitor to the City of Melbourne; a position he held until his death in 1895. He took an active part in the development of Caulfield and was Shire President in 1874 and 1877. He was a resident at Burreel from 1868 to 1882. The house has evolved in stages, the rear wings possibly remaining from a house built during the 1850s. The existing ornate cast iron verandah was probably built between 1882 and 1888 during the residence of Richard Buckhurst Buxted, a notable boom period auctioneer and real estate agent. George Allan, the founder of Allan's music store, was another important occupier from 1888 to 1991. Bureel's essentially residential quality has been retained and the interior has been well preserved. The significance of this building does not rest in any single unusual outstanding architectural feature, or in its association with a particularly prominent member of society in the past, but rather in the consistent integrity of both the interior and exterior, which results in the survival of an outstanding example of this type of residential building and its associations with two notable citizens. Classified:11/08/1990Page 113 of photograph album with 1 photograph of Burreel in its garden.Handwritten: Bureel [top left] / 113 [bottom left]trevor hart, caulfield, caulfield north, kooyong road, thomas king, mansion, 1860's, bureel, burreel, francis john sidney stephen, city of melbourne, shire president, 1850's, verandah, nursing home, john allee, ornamented corner stones, new orleans manner, plaster rendered, mrs luxton, vincent willis, alexander family, victorian architectural style, ornate cast iron work, lawyers, brick houses, richard buxton, richard buckhurst buxton, george allen, george leavis allan, allans music, daniel luxton, john taverner, mary neate, buxtons estate, land subdivision, mary neat, gardens

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Victorian Heritage Database H0704 FORMER UNION CHURCH 84-86 ORRONG ROAD ELSTERNWICK https://vhd.heritagecouncil.vic.gov.au/places/428 The Former Union Church, Elsternwick, designed by the architect George de Lacy Evans, and erected in 1889-90 is a building of historical and architectural significance for the following reasons:- (1) it is a rare and well- developed example of the early French Gothic manner as popularised through the muscular Victorian re-interpretation of English architect William Burgess, which in turn were derived from the publications of EE Viollet-le-Duc. Other Victorian cases of detailing derived from Viollet-le-Duc include Barwon Park (1868), the Presbyterian Church at Skipton (1871), the Bourke Street West Police Station by Bindley and Brittingham (PWD) dating from 1888-9 and the Lutheran Manse, East Melbourne by JAB Koch (1890). However, none of these buildings relates closely in form to the Union Church, Elsternwick. The only building which has been identified as closely comparable is The Bairnsdale Court House by AJ Macdonald (PWD) which dates from 1892. (2) the use of bright red brickwork is of significance, as the Former Union Church is believed to be only the second church building in Victoria to employ this material as a matter of conscious choice. Amongst red brick churches, it is thought to be preceded only by Reed, Henderson And Smart's Sacred Heart (1884), a Renaissance inspired design. (3) the building is believed to be a rare, possibly unique, surviving example of a church building erected for dual use by the Congregationalists and Baptists. In 1894 it was bought by the Congregationalists and continued as a Congregational Church until the formation of the Uniting Church.Page 165 of Photograph Album with four photographs, two of a church with the other two of houses on Orrong Road.Handwritten: ELSTERNWICK CONGREGATIONAL CHURCH [under top left photo] / 82 ORRONG ROAD [under top right photo] / 663-1 ORRONG ROAD / SEMI - DETACHED PAIR / 165 [bottom left]trevor hart, elsternwick congregational church, king street, orrong road, church, elsternwick, red brick, former union church, early french gothic style, architects, george de lacy evans, baptist church, conical towers, houses

This file contains 10 items about the history of Glen Huntly: 1/6 photocopied pages from ‘The History of St Kilda’ which relates to the place name Glen Huntly, and the Quarantine graves, date unknown. 2/2 photocopied pages from the ‘Sun Pictorial’ dated 13/4/1928 and 12/4/1928; relating to the state of the graves at Point Ormond and their re-internment to St Kilda Cemetery. 3/1 pen and ink sketch of graves at Point Ormond from the State Library Victoria. 4/3 pages taken from a website on the re-internment of graves and some social history as to the reason that the new emigrants were coming to Australia. The Article also has 7 photographs. 5/2 newspaper articles on the ‘Glen Huntly’ descendants forthcoming reunion being held on 21&22/4/1990. 6/1 article reprinted from newsletter no. 22 October 1983 on the barque ‘Glen Huntly’. Also details of passengers who died and the burial of 3 at Point Ormond. 7/1 handwritten document (unattributed) taken from ‘Migrant ships for South Australia 1836-1850’ by Ronald Parsons. 8/1 pamphlet commemorating the 150th anniversary of the ‘Glen Huntly’ arriving in Melbourne. It gives information about the ship, passengers, memorial in St Kilda Cemetery and upcoming descendants’ reunion. 9/1 program of commemoration events 21&22/4/1990. 10/1 piece of art work for a ‘Welcome to Glen Huntly’ sign, featuring a ship. Undated, unattributed and source unknown.‘glen huntly’, buchanan captain, fever ship, emigrants, cummins ann, st kilda cemetery, bowman mrs, caulfield, craig john, cameron miss, mcgonagle mrs, elsternwick, armstrong george, mathers james, the glen huntly pioneers memorial, jones alfred ramsey, st david’s uniting church (grange road), glen huntly, glen huntly road, lake street, glen huntly state school, glen huntly presbyterian church, south caulfield, mernda avenue, garden avenue, grange road, jenkin (boss) william, wattle avenue, chinese joss-house, smith a.w, glen huntly post office, foundation stones, king f.l, methodist church, trinity congregational church, greek orthodox church, salvation army temple, wanalta road, st anthony’s roman catholic church, st agnes’ anglican church, booran road, st david’s uniting church, el nido grove, manses, royal avenue, munster avenue, james street, rothschild street, neerim road, organs, peace memorial organ, railways, marara road, curraweena road, booran road, bambra road, rosstown railway, murray-ross william, leila road, murray-ross leila, ‘the grange’, north road, wild cherry road, ‘rosstown’, picture theatres, manchester grove, aerodrome, lord reserve, neville street, lyons street, morgan street, rosedale avenue, rifle clubs, glen huntly infant welfare centre, watson grove, rowlands drapery, drapers, bones plant nursery, nurseries, elsternwick railway station, railway stations, kooyong road, glen eira road, truganini road, rosstown sugar works, ross murray, street names, typhoid, diseases, death and dying

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

the Ballarat school of mines was the first school of mines in Australia, this book contains records from 14 years after its completion. Contains staff payments and details from local suppliers.A large volume with faded brown hard covers, brown leather faced spine and corners. Pages of plain brown paper. Contains receipts, glued and folded, each numbered by hand in blue pencil in order of insertion. This book starts with number 491 (31 Dec 1890), numbering reset to 1 after number 1000 (3 Apr 1889). Last receipt number 634 (1 Sept 1890). Auditor C.Kent, 11 Dec 1890.Auditors initials and/or signature in very many.ballarat school of mines, henry hall, salary, charles a smith, alex monsbourgh, george day, phoenix foundry, ballarat district exhibition, j.w. mills and son, carpenter, joe white, ballarat school of mines museum, purdue saddle and harness makers, r.t. vale, ballarat harness factory, w. hamer, thomas clegg, a.g. corbett, j. miller, h. ellsmore, lonie, dingle and co., john king, john king, druggist, john mann, alex e. monsbourgh, invoices, receipts, union foundry