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Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape -
Chiltern Athenaeum Trust
Painting - Oil painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Chiltern Athenaeum Trust
Photograph
Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern -
Chiltern Athenaeum Trust
Photograph - Reproduction
These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Stawell Historical Society Inc
Photograph, Mr Nicholas Scallan’s Store in Stawell East c 1865 -1870
Nicholas Scallan’s Store Stawell East c 1865-1870. In the worksheet notes: On the back of the original photograph are the inscriptions "The Scallan Grain Store and Skin Store in the early days. Stawell East. This may be mentioned in Maynard Ord's Book (Stawell Past & Present) From records many sales took place there as furniture, land sales, shares, commodities, auctions. Meetings were also held there, evidently a meeting place for miners. The lady and gentle man on the right of the photograph are Kate Scallan and Nicholas Scallan.Photograph of a small weather board building with veranda with wooden floor. The veranda has a diamond pattern around the roof edge. The windows at the front are at either side of the wooden door. The lean-to on one side has another door at the front. One female and two males are standing out the front. stawell -
Geelong Naval and Maritime Museum
Teacup
The Orungal was originally built in Glasgow in 1923 for the Khedival Mail Steamship & Graving Dock Company of Egypt and named the S.S. Fezara. Due to the effects on steamship companies of the Great Depression including the steep costs of building new ships and increases in running costs and port charges, no new passenger ships had been ordered in Australia since before World War One. To meet demand for passenger berths, the Fezara (5826 tons) along with its sister ship the Famaka (5856 tons, renamed Ormiston), were chartered by the Australasian United Steam Navigation Company Ltd (A.U.S.N.Co.) in 1927. Both the A.U.S.N.Co and the Khedival Mail Steamship Co. were part of the P&O Group. The Orungal operated in this role as an interstate passenger and mail steamer between 1927 and 1940, being used mainly on the Melbourne to Queensland and Western Australian runs, with 240 single class berths. Following the outbreak of World War Two six of the nine large passenger liners servicing mainland Australian passenger and mail trades were requisitioned by the Government to ferry equipment, troops and supplies. Some of them were converted to armed merchant cruisers and used for patrol work and escort duties in the Indian and Pacific Oceans. The Orungal had originally been requisitioned by the government along with the Zealandia on 25 June 1940, to transport troops to Darwin, but was returned to commercial service because "of her unsuitability", perhaps too slow for the demands of the work. Despite being rejected for patrol and convoy duties the Orungal still had a vital role as one of only three passenger liners left to service the mainland Australian trade. Following its requisitioning by the Government shortly after war broke out, it had been fitted out with defensive armament. On its final voyage arriving at Port Phillip Heads from Sydney, Captain Gilling was attempting to enter the Heads ahead of a worsening south-westerly storm and, with a minefield known to have been laid in the area, had been warned by the Navy not to deviate from the swept channel. The captain and crew held fears that in the stormy seas a mine may have been carried away. In the worsening weather a blur of lights at Barwon Heads was mistaken for Port Lonsdale, and the Orungal steamed ashore onto Formby Reef, just east of the entrance of the Barwon River - instead of passing safely through the middle of the Rip. At the Marine Board Inquiry Capt. Gilling - who had been master of the Orungal since 1926 - stated that after becoming uneasy about his position and changing course to starboard one point: " At 10.21 pm I ordered the engine room to stand by and gave instructions for the patent log to be hauled in and for the sounding-gear to be got ready. Approximately two minutes later, in a flash of lightning, I saw land off the port beam. I immediately recognised it as Barwon Heads, and ordered the helm to be put hard to starboard, but the vessel struck before she had time to answer the helm" Barwon Heads and Ocean Grove residents were startled to hear the shrill blast of the ship's whistle, followed by the bright flares and explosions of signal rockets. The Queenscliff lifeboat crew, who had responded to the tragic collision between the Goorangai and another passenger liner the Duntroon in Port Phillip Bay less than 24 hours earlier, were later praised for their efforts in safely taking off all the passengers and crew. Most of the passengers were asleep at the time of the wreck, and were woken up by the commotion, the ship shaking "from stem to stern" and stewards ordering them to lifeboat stations in driving rain. It was a dramatic time with the ship siren wailing and distress rockets being fired. It was reported that "When it was found the ship was safe, the passengers all went to the music room. There they sang and danced for several hours. The ship's orchestra played merrily, and amateur performers among the passengers clowned, danced and sang to keep the laughter going. In the early hours of the morning passengers went to their cabins, most of them to sleep soundly while the keel grated on the rocks". At dawn the Queenscliff lifeboat arrived at the scene having been launched at 2.30am, and cautiously approached the ship which was being "battered by mountainous seas". By 5am oil from a burst oil line was helping to calm seas around the Orungal sufficiently enough for the lifeboat to approach, and all the passengers and crew were taken off in several trips by the lifeboat. A Court of Inquiry later found that the wreck was caused by an abnormal set of current to the north-west and cleared the officers and crew of neglect of duty. The sight of a huge liner almost on the beach saw an unprecedented amount of traffic as people drove an estimated 10,000 cars, using some 60,000 gallons of fuel in a time of strict petrol rationing, to see the spectacle. Salvage operations began in an attempt to refloat the vessel, scheduled for the high tide on 15 December 1940. However, during these operations, at 2.30 am on 13 December 1940, a major fire broke out, believed to have been caused by spontaneous combustion in the boiler room. The ship was soon ablaze, with smoke pouring from its hatches and ventilators, and at mid-morning the magazine exploded fiercely. Of the 60 men working aboard the vessel two were severely burned and had to be taken to Geelong Hospital. The gathered spectators witnessed the eerie sight of the ship's hull glowing red when night fell. The well-known building demolition contractor Whelan the Wrecker bought the salvage rights, and methodically proceeded to dismantle the ship and its fittings. The drama was not yet over for the wreckers when - without warning - the burnt-out hulk was 'attacked' by RAAF for strafing practice. Salvage rights were transferred to another private owner in 1963. By 1945 the combined effects of the exposed location, fire and salvage had seen what was left of the wreck disappear beneath the waves. The site today is marked by two of the four Scotch type boilers sitting upright and exposed at low tide, just north-east of the small boats channel at the entrance to Barwon Heads. Large sections of steel hull plating and framing, and impressively large pieces of ships structure and machinery including masts, booms, deck winches, propeller shaft, flywheel, and a thrust block lie scattered about and make the site an interesting shallow dive. It is interesting to compare the site of the Orungal with the intact remains of similar large passenger ships scuttled in deep water in the Ships' Graveyard, such as the Milora and Malaita. The site is subject to waves and surge, and is best dived on flat calm days The teacup originated from the SS Orungal and was likely used heavily in the ship's life as a passenger, mail and cargo carrier around Australia. The teacup is significant for its connections to SS Orungal and of this ships connected story of being sunk in extraordinary circumstances in the local region. A.U.S.N. Co. Ltd. Teacup salvaged from SS Orungal ss orungal, fezara, world war two, barwon heads, ocean grove -
Koorie Heritage Trust
Document - Printed Sheets, Public Record Office, Public Records Office Correspondence Files - Series VPRS 1694: Items l, 2 & 16
The research Report at the front of the folder is annotated and helpful as to some of the contents of the various records. The aim of this report is to provide a preliminary overview of archival files held by the PRO which were research October 1997. Research was conducted into selected files in the series VPRS 1694. the files largely contain correspondence relating to the mangement of the Aboriginal reserves, the condition of the Aborigines, land use and policy development. Document types also include general inward and outward correspondence for the Board for the Protection of Aborigines (BPA) individual stations which often contain attendance lists inventory lists and contracts for the supply of goods. The accompanying Research Report at the front of the folder is most valuable as it outlines the contents for each year.Item 1 : 1889-1899, Item 2, 1900-1916, ; Research Report (annotated)The research Report at the front of the folder is annotated and helpful as to some of the contents of the various records. The aim of this report is to provide a preliminary overview of archival files held by the PRO which were research October 1997. Research was conducted into selected files in the series VPRS 1694. the files largely contain correspondence relating to the mangement of the Aboriginal reserves, the condition of the Aborigines, land use and policy development. Document types also include general inward and outward correspondence for the Board for the Protection of Aborigines (BPA) individual stations which often contain attendance lists inventory lists and contracts for the supply of goods. The accompanying Research Report at the front of the folder is most valuable as it outlines the contents for each year.board for the protection of aborigines - correspondence files.1907 - 1921., lake condah mission - corrrespondence, aborigines- lake condah - lists of residents; closure of mission; petition;, framlingham-inventories of residents (women), lake tyers-correspondence-lists (attendance) 1917., coranderrk- reports. -
Koorie Heritage Trust
Document - Printed Sheets, Bryant, Jenny, The Framlingham Aboriginal trust: Land rights before housing, 1981
... -History Aborigines Welfare Board-assimilation policy-Framlingham ...This report is for limited circulation to members of the Framlingham Community.Pp.43; tables; appendices; bibliography; This report is for limited circulation to members of the Framlingham Community.framlingham aboriginal trust-history, aborigines welfare board-assimilation policy-framlingham, land rights-framlingham, conditions-framlingham-1979., housing-framlingham-1979. -
Koorie Heritage Trust
Book, Bonwick, James 1817-1906, The last of the Tasmanians; or, The black war of Van Diemen's Land. London, Sampson Low, Son, & Marston, 1870, 1969
Explores the known history of the Aboriginal Tasmanians from the first encounters by white men to the settlement , conflicts and fate of the Tasmanians under white settlement.vii, 400 p. illus. (part col.) fold. map. 23 cm.Explores the known history of the Aboriginal Tasmanians from the first encounters by white men to the settlement , conflicts and fate of the Tasmanians under white settlement.aboriginal tasmanians. | tasmania -- history -- to 1803. | tasmania -- history -- 1803-1900. -
Whitehorse Historical Society Inc.
Document, Subdivision of part of W.B. Wickings Estate, 1952
Plan of subdivision of part of W.B. Wickings Estate, 1952. Reticulation area 1457, Sewer through private property. Melbourne and Metropolitan Board of Works document.land subdivision, holland road, blackburn south, constance street, gissing street, rosen street, wicking court, melbourne and metropolitan board of works, sewerage and sanitation, wicking, walter benjamin -
Whitehorse Historical Society Inc.
Document, Heatherdale Estate, Ringwood, 1919
Brochure advertising 52 lots, Heatherdale Estate, Ringwood (now Mitcham) to be auctioned September 1919.Brochure advertising 52 lots, Heatherdale Estate, Ringwood (now Mitcham) to be auctioned September 1919. Station Street on the plan is now Victory Street and a Railway Avenue is shown which does not now exist.Brochure advertising 52 lots, Heatherdale Estate, Ringwood (now Mitcham) to be auctioned September 1919.land subdivision, heatherdale estate, whitehorse road, mitcham, melbourne and metropolitan board of works, peers, w.h., coane, j.m., h.e., knight & harwood, godbehear & co, haynes, sydney t, walter street, witt street, victory street, purches, frederick walter -
Whitehorse Historical Society Inc.
Document, Blackburn Cool Stores
Papers of Blackburn Cool Stores Pty Ltd, established 1917, comprising Box 1-1a: Minutes of Board of Directors 1916-1935, 1940-1987 (10 vols.); Sundry debtors 1983-1987; Pool Storage, Wages, Rent records 1981-1987; Petty Cash Book 1936-1987; Receipt book 1985-1987. Box 2: Ledgers and account books (6 vols) with Audit reports, bank statements, superannuation, shareholder lists, rentals, operating costs; Box 3: Share scrip certificates, rebuilding, plant and equipment estimates; Box 4: Land, company formation, services, provision documents; Work records for Alan Riescheck, Harry Wilson, Don Watts (2 vols)Papers of Blackburn Cool Stores Pty Ltd, established 1917, comprising Box 1-1a: Minutes of Board of Directors 1916-1935, 1940-1987 (10 vols.); Sundry debtors 1983-1987; Pool Storage, Wages, Rent records 1981-1987; Petty Cash Book 1936-1987; Receipt book 1985-1987. Box 2: Ledgers and account books (6 vols) with Audit reports, bank statements, superannuation, shareholder lists, rentals, operating costs; Box 3: Share scrip certificates, rebuilding, plant and equipment estimates; Box 4: Land, company formation, services, provision documents; Work records for Alan Riescheck, Harry Wilson, Don Watts (2 vols)Papers of Blackburn Cool Stores Pty Ltd, established 1917, comprising Box 1-1a: Minutes of Board of Directors 1916-1935, 1940-1987 (10 vols.); Sundry debtors 1983-1987; Pool Storage, Wages, Rent records 1981-1987; Petty Cash Book 1936-1987; Receipt book 1985-1987. Box 2: Ledgers and account books (6 vols) with Audit reports, bank statements, superannuation, shareholder lists, rentals, operating costs; Box 3: Share scrip certificates, rebuilding, plant and equipment estimates; Box 4: Land, company formation, services, provision documents; Work records for Alan Riescheck, Harry Wilson, Don Watts (2 vols)blackburn cool store, cool stores, blackburn, wilson, harry, orchards, fankhauser, margaret, fankhauser, eric, watts, don, riescheck, alan -
Whitehorse Historical Society Inc.
Leisure object - Land Title, Moffatt land, 1907
Certificate of Title Vol. 3247 Fol. 346.Certificate of Title Vol. 3247 Fol. 346, 9 acres, 25 perches, Mahonys Road Burwood, 19 November 1907. Incl. transfers to MMBW 4 August 1926 and Arthur Vernon Moffatt 30 October 1934 by William James MoffattCertificate of Title Vol. 3247 Fol. 346.moffatt, arthur vernon, melbourne and metropolitan board of works, moffatt, william james, mahoneys road burwood east -
Whitehorse Historical Society Inc.
Document, Land under threat, 1981
'Land under threat: the future use of public open space adjoining Blackburn Creek' by Blackburn Creek Conservation Group, November 1981.'Land under threat: the future use of public open space adjoining Blackburn Creek' by Blackburn Creek Conservation Group, November 1981. Includes detailed descriptions, plans, bird lists, correspondence.'Land under threat: the future use of public open space adjoining Blackburn Creek' by Blackburn Creek Conservation Group, November 1981.blackburn creek, parks and reserves, kalang park, furness park, environment, blackburn creek conservation group, blacks walk, blackburn creeklands, melbourne and metropolitan board of works, city of nunawading, burgess, graham -
Whitehorse Historical Society Inc.
Article, A Green belt for Melbourne, 1/06/1948 12:00:00 AM
Weekend Magazine of 'The Argus' of 19 June 1948 by Geoffrey HuttonAn article from the Weekend Magazine of 'The Argus' of 19 June 1948 by Geoffrey Hutton calling for a halt to the unending sprawl of Melbourne's suburbs and the creation of a green belt.Weekend Magazine of 'The Argus' of 19 June 1948 by Geoffrey Hutton land use, howard, ebenezer, melbourne, osborn, f.j., webb, (cr), melbourne and metropolitan board of works, tram services, commonwealth scientific and research organisation, victoria. department of agriculture, railways, state electricity commission -
Whitehorse Historical Society Inc.
Document, Memorials, 1871 & 1970
Memorial of transfer of land from William Kennard, William Coe & Francis Turner to the Board of Education, 1871 and from L.H.S Thompson, Minister for Education and Board of Education to City of Nunawading 2 June 1970.Memorial of transfer of land from William Kennard, William Coe & Francis Turner to the Board of Education, 1871 and from L.H.S Thompson, Minister for Education and Board of Education to City of Nunawading 2 June 1970. This land became the site of Vermont State School No. 1022.Memorial of transfer of land from William Kennard, William Coe & Francis Turner to the Board of Education, 1871 and from L.H.S Thompson, Minister for Education and Board of Education to City of Nunawading 2 June 1970.victoria, board of education, vermont state school, no, 1022, kennard, william, coe, william, turner, francis, city of nunawading -
Whitehorse Historical Society Inc.
Functional object - Book - Warworkers Woolcraft, Warworkers Woolcraft, During WW1
Published to help the war effort and contribute to the defence of the country. Patterns selected in collaboration with the three services-colours and garments by active services in air,on land or at sea.Green-grey light card cover. 32 pages compiled by the Country Womens Association of Victoria sponsored by the Wool Board.J.Tatebooks, handcrafts -
Whitehorse Historical Society Inc.
Photograph, Clearing Land for Reservoir
Black and white photo of Teams of Horses clearing Land for M.M.B.W. Reservoir at Mitcham.meagher, ray, melbourne and metropolitan board of works, mitcham reservoir -
Whitehorse Historical Society Inc.
Photograph, Mitcham Reservoir
Photo of Teams of Horses used for clearing land for the Melbourne and Metropolitan Board of Works reservoir at Mitcham. (Copy of framed Photo see NP842).melbourne and metropolitan board of works, mitcham reservoir -
Whitehorse Historical Society Inc.
Letter - Correspondence, Roads, 10/10/1867
Letter from S. Padgham to Road Board Engineer dated 10 October 1867 re representations by Mr Cook about location of road relating to Mr Cumming's land and Marshall's Gully.marshall's gully, roads and streets, cook, william, cummings, (mr), padgham, silas -
Whitehorse Historical Society Inc.
Document - Building Contract, Victorian Co-Operative Housing Societies, 27 Good Governs Street, 1960
... Specification, land purchase and Board of Works documents for the house ...Original buisling Specification, land purchase and Board of Works documents for the house at 27 Good Governs Street, Mitcham for John Kift in 1960.Original Specification documents for the erection of a house at 27 Good Governs Street, Mitcham for John Kift in 1960.non-fictionOriginal buisling Specification, land purchase and Board of Works documents for the house at 27 Good Governs Street, Mitcham for John Kift in 1960.good governs street mitcham no 27, kift john -
Whitehorse Historical Society Inc.
Photograph, Morack Golf Course, C1970
In 1970, the area now known as the Morack Golf Course was rezoned from 'Rural' to 'Public Open Space'. This allowed planning to go ahead and by 1973 sufficient land had been acquired by the Melbourne and Metropolitan Board of Works. The course was first open on 8 May 1976 as a nine-hole course. This was extended to 15 holes by January 1980, and to eighteen holes by 1981.Two coloured photographs a-b of the early days in the development of the Morack Golf Course. Overview of a hole plus white patches indicating where trees have been planted. Some people practicing.morack golf course -
Whitehorse Historical Society Inc.
Photograph, Nethercote property, 2012
The land photographed is widely known as Nethercotes. In 1920 Arthur Nethercote, import agent, bought the land which was situated in Boronia Road near Dandenong Creek. Originally a flower farm, the Nethercotes became poultry farmers. The property contained a five-roomed weatherboard house which they called Weston Favell. Dated before 1883 (from newspapers found in the ceiling) it is the more dilapidated house photographed. The other house called Greenways was built for a son. Gerald Letts bought the property and when he died the Board of Works purchased the land, intending to use it as part of the proposed Healesville Freeway, meanwhile the property was leased to the Box Hill Institute's equine department. In 2013 the Board of Works announced that the freeway would not go ahead.Coloured photographs of the two houses and land at the Nethercote property, Vermont. Now owned by the board of Works and leased to the Box Hill Institute.nethercote property, vermont, board of works, proposed healesville freeway, box hill institute -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, YMCA Ballalrat, 2016, 30/07/2016
At one time pre-service teachers' of the Ballarat Teachers' College boarded at the YMCA. There also used to be an inside pool at the site. Three photographs relating to the YMCA Ballarat building, including the Foundation stone. The land on which this building is erected was given by John W. Wilson one of the pioneer citizens of Ballaratymca, young mens christian association, foundation stone, camp street, ballarat, john w. wilson -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Oil, Australian Birds
The painting belonged to the Wied family who were in Camp 3 Tatura. Artist unknownThree budgerigars, one blue, one yellow, one green sit on a thin branch of a tree with a Major Mitchell Cockatoo to the right of the picture. Another bird is in the air attempting to land on the branch. The sky is blue and the landscape is yellow with a tinge of green. A blue mountain range is on the horizon. Painted on board with a brown wooden frame.major mitchell cockatoo, australian birds, budgerigars, australian landscape -
Whittlesea Historical Society Inc.
Document, Whittlesea Town Common, 1866
... board of land and works... of the Board of Land and Works. Dated 8th June 1866.... board of land and works Handwritten document with signatures ...Document appointing Thomas Williamson to be the manager of the Whittlesea Town Common.Handwritten material on blue paper relating to the appointment of James Williamson to be one of the managersof the Whittlesea Town Common. The document has been folded and has torn along the fold lines. Handwritten document with signatures. Red paper seal of the Board of Land and Works. Dated 8th June 1866.thomas williamson, whittlesea town common, board of land and works