‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981These are containers for miso. The wooden box, a product of Osaka, is lacquered in black on the outside and in bright red on the inside. The binding of split bamboo, in natural colour, gives it a sturdy look. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

Minnie PWERLE (c1910-2006) Atnwengerrp/Utopia Minnie Pwerle's Dreamings consist of elements of 'Bush Melon' and 'Awelye'. Awelys-Atnwengerrp' is depicted by a series of lines painted in varying widths and colours. These patters represent the lines painted on the top had of women's bodies during ceremonies in Minnie's country of Atnwengerrp. 'Bush Melon' is depicted using linear design of curves and circles in different colours creating a very loose and bold design. This dreaming tells the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now hard to find. Minnie and other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it in pieces and skewer them onto a piece of wood to dry then to be eaten in the coming months when bush tucker was scarce. These artistic symbols carry potent spiritual meanings.. The physical creation of these Dreamings in an important part of the continuation of an ancient and rich cultural heritage. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Awelye & Bush Melon Dreaming, 2004 Acrylic on canvas, over three panels art, artwork, minnie pwerle, aboriginal, anmatyerre language, atnwengerrp country

A black and white photo of the girls' classes at Legacy House in the late 1940s being addressed by a Legatee. It was used in the publication to commemorate the 25th Anniversary of Legacy in 1948 (see item 00939). The girls are wearing their cotton tunics that were provided by Legacy for each girl in the classes. They appear slightly different colours in the photo - only green ones are currently held in the Legacy collection.The girls appear to be listening to a Legatee and the blackboard behind them says 'A Merry Xmas to all' so it appears to be taken in December. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. Melbourne Legacy held Annual Demonstrations to showcase their skills. The photo was donated to Legacy from the family of Marjorie and Jacobina (Jackie) Bristol, sisters who were both junior legatees in the 1930s and 1940s after their father passed away, he was a World War 1 veteran. A note with the photo says Marjorie is 8th from the left. Jacobina later became Jackie Wood who passed away in April 2020, and Marjorie became Marjorie Bachmann and she passed away in 1986. Also donated were girls' green tunic uniform, a souvenir handkerchief, a junior legatee certificate and a $100 Legacy badge. These are catalogued separately at 01948 to 01952.A record of a group of junior legatees at a Girls' Class showing their uniforms.Black and white photo of a group of junior legacy girls in their gymnastics outfits at Christmas.Stamped 'Commonwealth of Australia. Department of Information' in purple ink on reverse. Handwritten '4319/5' in pencil.junior legatee, girls' classes, uniform

There were at least three 1880s vessels named Lady Loch, all built in Victoria; a river launch (ca 1884-ca 1916, originally named Lady of the Lake), a steamer ferry (1884-1920s) and a government lighthouse tender steamer HMV Lady Loch (1886-1962.) The carved wooden panel was removed from the HMV SS Lady Loch before the vessel was scuttled in 1962. About HMV SS Lady Loch: - The HMV SS Lady Loch was an iron steamship built in Footscray, Melbourne, by Campbell, Sloss and McCain in 1886 for the colonial Victorian government’s Department of Trade and Customs. It was armed with a 6-inch gun and two 1-inch Nordenfelt guns. The Sydney Morning Herald of 27th January 1888 describes the vessel in detail. It even comments on the interior of the Saloon “The wood work … is on a very elaborate scale and is exceedingly neat …”. The HMV Lady Loch performed Customs duties and serviced the lighthouses along the coast. The scale could have measured goods for the Customs Tax, or for measuring out supplies for the lighthouse keepers. The vessel was named after Lady Elizabeth Loch, wife of Sir Henry Loch, Governor of Victoria from 1884 to 1889. In 1932 Lady Loch was converted to a hulk and used in Brisbane, and finally scuttled in 1962 at Moreton Bay, Queensland. The carved wood panel has importance due to its connection to the 1886 HMV Lady Loch, a vessel of great significance to Melbourne’s shipbuilding industry. It was the largest auxiliary vessel in the Victorian Colonial Government’s fleet and the first prominent vessel launched by Melbourne’s shipbuilding industry. It is significant to the history of the Victorian era and the colonial navy's steamship HMV SS Lady Loch. The vessel carried out Custom's work, and the scales were available to weigh goods that could attract taxes and goods for distribution to lighthouse keepers. The HMV Lady Loch was also important part of Victoria's maritime history, its communication with and support of the lighthouse keepers along the coast of Victoria.Heavy carved wooden panel, square, representing a framed plaque. The bottom and right edges are scalloped on the outer and inner edges. A carved oval within the frame represents a wide belt with buckle and tongue, and indents for the belt holes on its left and a carved inscription runs from top centre to bottom centre on the right side of the belt. Within the belt is the maritime symbol of an upright anchor in front of a rope. It was once part of the furnishing of the steamer HMVS Lady Loch and was removed before the ship was scuttled.Carved within the belt: "STEAM SHIP LADY LOCH"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, scale, salter, spring balance, silvester's patent, lady loch, steamship, hmv, colonial navy, victoria, lady elizabeth loch, custom's vessel, lighthouse tender, 1886, government vessel, victorian government, wood panel, timber panel, carved panel, carved log, lady loch logo, belt enclosing and anchor, anchor within belt, lady loch steam ship, wooden panel, ship's furinshing, ship's panel, ship's logo, great ocean road, government steamer, victorian colonial government, colonial vessel, public works, bass straight, hmv lady loch, hmvs lady loch, hmv ss lady loch, melbourne, melbourne shipbuilder, ship furnishings, wooden furnishings, decorative panel, carved emblem, carved logo, carved symbol, campbell stoss and mccain, government tender, victorian customs

This Bodmann mitre saw set was used in the making of components for the ship model Sovereign of the Seas. It is part of a collection of objects used by Jim Williams, maker of fine ship models from about 1930-1955. Most of the components for the models, as well as many of the tools, were handmade by Jim Williams. Jim’s family has donated the ship model “Sovereign of the Seas” and many tools, accessories and documents used in the making of this and other ship models have been donated to Flagstaff Hill Maritime Village. ABOUT the BRAND NAME ON THE SAW - BODMANN and CO, Germany In 1927 the Brisbane Courier Mail described Bodmann and Co of Reinscheid, Germany as "manufacturers of guaranteed tools and hardware. It appears that at least the saw has been re-badges and sold by Bodmann because (1) there are remnants of a label on the saw blade similar in shape to the Bodmann label on the mitre set (2) the removed label reveals the name and logo of "ULMIA Schutz OTT Marke" (3) one of the "Bodmann" labels on the saw handle has been applied in a crooked manner, almost leaving off the last "N". ULMIA is a German manufacturer of high quality woodworking tools. A drawing of a very similar mitre bset with saw can be seen on the ULMIA website. In 2002 the long established company ANKE of Swabian Alb, Germany (makers of cut timber, workbenches and countertops) bought out the name and trademark rights of ULMIA. HISTORY OF SOVEREIGN OF THE SEA (brief) Ship model of HMS Sovereign of the Seas, scale model of 17th Century English war ship, was handmade and carved from plans, enclosed in airtight glass case. All components of that model, including even the smallest pulleys, were hand crafted using tools designed and made by Jim. Outstanding details include functional rigging and moving cannons. Please see our record 3732 of the mode Sovereign of the Seas for further details of the ship and the Jim Williams. This mitre saw set is connected with the hobby and skill of ship model making that has been crafted as a leisure activity for many generations. The hobby is often chosen by serving and retired mariners who appreciate the connection with maritime history. This mitre saw set was used by local Warrnambool man, Jim Williams, who was employed at Cramond and Dickson clothing store, and then at Fletcher Jones menswear for 27 years. It was used in making components for the model of the historic ship, the Sovereign of the Seas. The Sovereign of the Seas was a historic 17th century English war ship with important maritime heritage. Bodmann Mitre Saw set model 348, comprising metal, adjustable mitre saw on timber stand, and metal hand saw with Bakelite handle. The mitre saw is labelled with the trademark of Bodmann, Germany, and stamped with the model number 348. The saw has Bodmann trademark badges on each side of the handle; the text on one of these badges is not quite aligned. The saw blade has remnants of a label under which the stamped logo of ULMIA Schutz OTT Marke is clearly visible. Saw is fitted with two metal guides that slide onto vertical posts on the mitre saw. Metal measuring guide holds the wood job to the correct length. Saw has a protective brown paper wrapper. This mitre saw set is part of a collection of tools and accessories once used by Jim Williams, maker of a series of ship models 1930-1955 including “HMS Sovereign of the Seas”.On mitre saw- 2x logos "REGISTERED / BODMANN / TRADE MARK" and embedded stamp “348”. On saw - Remnant of logo on blade “ULMIA Schutz OTT Marke” with image of a church-like tall building, and 2x , "BEST QUALITY / BODMANN / MADE IN GERMANY” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jim williams, james bernard williams, ship model hobby, ship model tools, ship model making equipment, ship model making accessories, wood working tool, model making tool, mitre box set, mitre saw, bodmann and co reinscheid, germany, ulna ott of of swabian alb, germany, anke of swabian alb, germany, sovereign of the sea, ship model, hobby, ship model tool, mitre saw set

The Lay Reader David Conolly was associated with the Mission for many years in particular working with trainee cadets and RAN Officers. Painted wood crucifix on a very thin backing support of hardboard. Style of the painting is that of icon artist of Russian/Greek/Byzantine style. An inscription on the reverse. Small steel hanging hook at top edge on reverse. The edges of the icon are painted red and the whole depiction is decorated with much gilding. The whole support is in the form of a t-shaped cross. The top section depicts a risen Christ at the centre surrounded by ten disciples or saints and the hand of God appears to be at the upper central edge. The Christ figure is flanked on the main cross piece by five archangels and Saint Peter. Flanking the torso of the crucified figure appear to be Maria and St Joan and on the right side Mary Magdalen, Mark (Saint?) and a centurion figure. Three small figures also featured in this section. At the lower right corner are two haloed male figures (unidentified).Front; above haloed head of the crucified figure U.C.; IHSNAZARE in gold on a red ground/ REXIVDEORV. Beneath the central panel again gold on red SEASIOANNES AND MARIA. On the other side of the central figure; MARIAMARK CENTURIU/ MAGDALEN...IACO/ BI. Hand-written inscription on reverse; "For/ all who enter/ this sacred space./ The gift of/ David Conolly/ sometime stipendiary Lay Reader/ in the Mission/ 1956-1958.david conolly, crucifix, icons, othodox, artwork

Pollard Photographs:; 1. Back of postcard of the Pollard home in Wonga Road (also called Anderson Creek Road Road, and now Warrandyte Road).; 2. One bushel net apples, J Pollard, Victoria, Australia.; 3. Joseph and Emma Pollard and Family. Emma is nursing baby Ethyl.; 4. Ringwood PS photograph. Jack Pollard is second from the RHS in the back row.; 5. Woods Point with arrow indicating mine manager's house: that of Joseph Pollard. Circa 1900. The Pollard family had a 20 acre orcharding property between Mullum Mullum Road and Wonga Road. Given on 4th September 2010 by Arthur Lunt from his cousin. The Pollard family. School photo at Ringwood State School. Jack�s father was Joseph � land (orchard) between Mullum and Wonga Roads +Additional Keywords: Pollard

Five images relating to Colin Campbell Price and military Service. .1) Colin Campbell Price .2) 8th Battalion Senior Cadets at Daylesford, 193? .3) HMAS Albatross 808 Squadron in front of an aeroplane and hanger. .4) Darwin mess mates of Colin Price .5) Twenty uniformed men in 1948 - Fleet Arm - HMS Condor - C4 Conversion Course. Back Row L-R: K. Roberts, J. Lamb, N. Hallas, A. Woods, H. Gid=bson, G. Coker-Godson, M. Green, K. Nicholls, M. Gardener. Centre Row L -R: D. Eastgate, B. Gilroy, R.Smith, G. Foale, J. Sergeant, A. Sara, R. Higgins. Front Row L-R: Colin Price, E. Barker, S. Cox, S. Paul

The Manchester Assurance Company. Duplicate Fire Policy No. 8277256. Name of insured: Frank J. Every, sum insured 940 pounds premium 3 pounds 4 shillings 4 pennies. Expires on the 20th day of December, 1924. Insured are two buildings described as No.1 and 2 in the proposal for this insurance dated 20th December 1923, each of one storey having walls of wood, roof of iron, situate at the corner of Napier and Bosquet Street, White Hills, occupied by the insured No. 1 as a Dwelling house only, No. 2 as a motor shed only. On the building 1 900 pounds, building 2 40 pounds. Attached are 3 renewal certificates: 52007 from 20/12/1947 to 20/12/1948, 56299 from 20/12/1948 to 20/12/1949 and 60917 from 20/12/1949 to 20/12/1950.business, legal, manchester assurance company

Framed London College of Music certificate. Frame is wooden with an ornate carved surround painted ivory, charcoal and gilt. Glass has been broken. Certificate is printed on cream stiffened paper with black writing and illustrations.At the top a crest of the London College of Music is printed with the words Founded 1887 Incorported either side. A banner with the words London College of Music Great Marlborough St W is draped diagonally below the crest. A list of the Patrons, Board of Examination, Examiners and Examners (Colonial Centres) is printed below the banner. Beneath this list are the words' Pass Certificate This is to Certify that Kathleen Foster having duly fulfilled the requirements of the Examiners has been awarded this Certificate of Merit. Subject Pianoforte playing Senior Section Pupil of J C Rockelmann Esq'. Certificate is signed on behalf of the Council Ernest Wood Examiner and the date Nov 12th 1906.London College of Musicdocument, certificate, music

Black and white photograph of Students in Grade 6 in 1946 at Mitcham Primary - Back Row - Arthur Cutting; Jim Hayes; Vernon Osterlund; Boll Bernhardt; Rex Wells; Howard Staples: Don Ireland; Alan Treverton. 2nd Row - Hilton Boxhall; Robert Woolard; Graham Clements; Dave Sands; ? Shaw; Neville McClean; Andrew Stuart; Brian Bale; Leo Millist. 3rd Row - Irene Schafer; Liela Charles; Barbara Woods; Thelma Burton; ????; Barbara Spelling; Lorna Watt; Barbara Savage; Esme Green. 4th Row - ??????, Yvonne Robertson; Valda Hancock; Patsy George; Betty Dashwood; Margaret Bamford; Dorothy Summerton; Barbara Freemam'|Front Row- Geoff Irvine; Peter Cumming; Jim Mc Bride; Fred Donkin; Graham Cassidy; Barry Dunbar; Peter Gorsuch.cutting, arthur, hayes, jim, osterlund, vern, bernhardt, boll, wells, rex, staples, howard, ireland, don, treverton, alan, hilton boxhall;, woolard, robert, clements, graham, sands, dave, shaw, mcclean, neville, stuart, andrew, bale, brian, millist, leo, schafer; irene, charles, liela, woods, barbara, burton, thelma, spelling, watt, lorna, savage, green, esme, robertson, yvonne, hancock, valda, george, patsy, dashwood, betty, bamford, margaret, summerton, dorothy, freeman, irvine, geoff, cumming, peter, mc bride, donkin, fred, cassidy, dunbar, barry, gorsuch, mitcham primary school no. 2904

A real tennis racquet, with tilt-top head, and solid convex throat, manufactured by Brouaye, and presented as a trophy. Manufacturer's name is across crown on obverse.The throat piece is wrapped in a blue coloured piece of parchment, and is gold embossed with decoarative floral designs. Amongst these designs on the obverse, is the date '1860'. The handle is wrapped in padded pink velvet, and is framed by a braided silver collar around the shaft, and a braided silver butt cap. Engraved inscription across the silver collar: JUNIOR PRIZE RACQUET/WON BY/B.M. DAVIES ESQ./1860. Davies was an undergraduate student at Oxford from 1860-62, and won this, the Junior Prize in 1860, and later, the Senior Prize in 1862. A point of interest, the 1862 racquet trophy was once owned by Australian tennis champion, Lew Hoad. Materials: Wood, Lacquer, Glue, Metal, Gut, Ink, Hide, Velvettennis

Under the direction of Mr Joseph Post 50 members of the Melbourne Symphony Orchestra (MSO) performed to at crowded house at the Capital Theatre in Bendigo July 1st, 1948. The programme included the Max Bruch's Violin Concerto in G Minor, op. 26; Dvorak 'New World'' Symphony; Weber's ''Oberon'' overture, Debussy's 'L'Apres midi d'un Faune''; chorale, 'Jesu, Joy of Man's Desiring'' (Bach-Roberts,) gavotte from Suit No. 6 (Bach-Wood), Brahms'Fifth and Sixth Hungarian Dances, Percy Grainger 'Country Gardens; (Arr, Earle) 'The Mermaid'' and (Martin Shaw) 'The Song of the Music Makers'' Soloists for the event included: Miss Bertha Jorgenson a Castlemaie Local and well known talent on violin; Miss Kathleen Moore violin; Miss A Walk flute. The concert was sponsored by Bendigo Musical Advancement Society in conjunction with the Austrlisn Broadcasting Commission.bendigo, tourism, theatre performances music

Set of 15 Digital Images of the aftermath of the sub-station repairs, wiring it up and the installation of the isolating transformer taken between 11/12/2004 and 18/12/2004 .1 - Garry Wood with some concrete for the substation floor .2 - Alan Snowball and Paul Mong laying the floor. .3 - Part of the Switchboard modified to position the new Isolating Transformer .4 - ditto .5 - the Transformer arrives - 15/12/2004 .6 - being positioned in the depot .7 - the manufacturers plate - Illawarra Transformers Wollongong .8 - unpacked .9 - being positioned .10 - In position .11 - the door to no where - the platform across to the store and archives yet to be built .12 - some of the equipment installed but found not to be suitable for the purpose. Was ex an PTC sub .13 - wiring it up .14 - Paul working .15 - the new control panel. trams, tramways, btm, substation, testing, isolating transformer

The first meeting of the 1st Bendigo Guides was held by Miss Merle Bush on the 22nd of August 1922 in the St Paul' School Room.. Twelve girls were present. Miss Bush was given permission to open the Company by Miss R. Hamilton, State Secretary for Victoria, She received her Captain's Warrant on 12th December 1922. Three black and white photographs of 1st Bendigo Guides. 6942.10a Taken about 1925 on the steps of the Law Courts with wrought iron gates in the background. Twenty three Guides in uniform with one Guide Leader (Merle Bush), in three rows. The Guide in the centre of the back row is holding a flag. names listed on the back (L - R) FRONT ROW - Lily Koska, Norah Moore, ? , Nancy Hamilton, Jean Thurman, Lola Dickson, Aileen Wood, ? . CENTRE ROW - ? Howard, Bev Lansell, Stella Anderson, Beth Beischer, Gwen Young, Ena Wright (with Lanyard), Madge Welch, Merle Bush (with tie), Biddy Stephens, ? , ? , ? Sides, ? . BACK ROW - Ethel Carter, Olive Wright, Marion Henderson. 6942.10b 1st Bendigo Guides. Merle Bush third from right. 6942.10c1st Bendigo Guides. Merle Bush third from right. girl guides, guiding, merle bush, trefoil guild

A Davis Lady Elite tennis racquet, with fibreglass overlays along the shoulders and shaft, and leather handle grip with patterned perforations. Davis logo and model name features across base of head and throat. They are surrounded by ornate floral designs along the shoulders. 'D' and 'TAD' trademarks feature along shaft, with further floral motifs in between. TAD "Kings of the Court" trademark features on lower shaft on obverse. Davis coat-of-arms "Duce virtute comite fortuna" trademark features on lower shaft on reverse. TAD trademark features on rubber butt cap. Racquet is accompanied by original presentation cover. Inscription, in part: TAD/DAVIS/TENNIS RACKETS/AUTHORIZED DEALER/.../DISTRIBUTED BY/VICTOR SPORTS, INCORPORATED/... Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Leather, Adhesive tape, Rubber, Fibreglass, Painttennis

The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Hampden Buggy replicates the vehicle that enjoyed respect from the public from c.1800's. It came in various types.A model of a Hampden buggy, c1900. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has four spoked wheels, two large and two small which have gold painted mudguards. It has brown padded seating, gold painted armrests and two coach lamps. There are two long shafts on each side to surround the biscuit coloured horsel with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. The original Hampden buggy was the inspiration of K.Booth, an American coach maker. It was designed for the ladies to show off their finery. Keep Bros. and Wood of Melbourne built many variations of buggies for wet or dry conditions.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

Framed three part photograph of tram W2 439 painted by Stewart Merritt, showing the tram along its length. Each photograph along the length of the tram individually presented, but not necessarily lining up. The original prints were scanned and reprinted, but they continue to show the damage. Frame wooden frame, with paper backing and wire hanging strips, clips and felt bumpers in the bottom corners. Was originally framed with a wood half round section, painted brown, glazed, with non-acid free cardboard surround and paper backing but has suffered extensive water damage both to the cardboard and the individual photographs themselves. The photographs were in a deteriorated condition. The item was unglazed at the time of the donation. The Museum had the photographs rescanned and remounted. For the original photographs see Reg Item 4213i1 to 4213i3. Framing work by "Framed by You" in Church St Richmond.trams, tramways, transporting art, ministry for arts, w2 class, tram 439

Black and white photograph of Students in grade 3 - Mitcham Primary School in 1943. Back Row - Robert Woolard; Neville McClean; Don Ireland; Ray Orchard; Maiford Green; Max Jones; Alan Treverton; Jim McBride. 2nd Row - Brian Bale; Gilbert Kerchevell; Graham Clements; Keith Jones; Vernon Osterlund; Andrew Stuart; Arthur Cutting; John Olson; Jack Treverton. 3rd Row - Maureen Webster; Valda Hancock; Keitha Petty; Thelma Burton; Barbara Savage; Esme Green; Barbara Woods; Irene Schafer; Peter Gorsuch. 4th Row - Margaret Bamford; Lorna Watt; Yvonne Robertson; Dorothy Summerton; Francis Ball; Patsy George; Hilton Boxshall; Alfred Gadsen.|Front Row - Andrew Bailey; Alan Baldwin; ??? Heaps; Peter Cumming; ?????; Leslie George; Les Fitzell; Ken Hennesy; Graham March.woolard, robert, mcclean, neville, ireland. don, orchard, ray, green, maiford, jones, max, mcbride, jim, treverton, alan, bale, brian, kerchevell, gilbert, clements, graham, keith, osterlund, vern, stuart, andrew, cutting, arthur, olson, john, jack, webster; maureen, hancock, valda, petty, keitha, burton, thelma, savage, barbara, esme, woods, schafer, irene, gorsuch, peter., margaret bamford;, watt, lorna, robertson, yvonne, summerton, dorothy, ball, francis, george, patsy, boxshall, hilton, gadsen, alfred, bailey, heaps, cumming, peter, leslie, fitzell, les, hennesy, ken, march, mitcham primary school no. 2904

A spokeshave is a hand tool used to shape and smooth woods in woodworking jobs such as making cart wheel spokes, chair legs, paddles, bows, and arrows. The tool consists of a blade fixed into the body of the tool, which has a handle for each hand. Historically, a spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Being a small tool, spokeshaves are not suited to working large surfaces. The name spokeshave dates back to at least the 16th century, though the early history of the tool is not well documented. The name spokeshave reflects the early use of the tool by wheel wrights. The first spokeshaves were made of wood usually beech with steel blades, before being largely superseded by the development of metal-bodied spokeshaves in the latter half of the 19th century, though many woodworkers still use wooden spokeshaves. Due to their widespread use and versatility vintage wooden spokeshaves remain commonly available and relatively low in price. Spokeshaves consist of a blade or iron secured to the body or stock of the tool, which has two handles – one for each hand. The bottom surface of the tool is called the sole. The blade can be removed for sharpening, and adjusted to vary the depth of the cut. An early design consisted of a metal blade with a pair of tangs to which the wooden handles were attached, as with a draw knife. Unlike a draw knife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. There are a wide variety of different types of spokeshave, suited to different trades and applications. Company History: The firm of Alexander Mathieson & Sons was one of the leading makers of hand tools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow regarded as the "second city of the Empire". It also reflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperage's and other industries, both locally and far and wide. The year 1792 was deemed by the firm to be that of its foundation it was in all likelihood the year in which John Manners had set up his plane-making workshop on Saracen Lane off the Gallowgate in the heart of Glasgow, not far from the Saracen's Head Inn, where Dr Johnson and James Boswell had stayed on their tour of Scotland in 1773. Alexander Mathieson (1797–1851) is recorded in 1822 as a plane-maker at 25 Gallowgate, but in the following year at 14 Saracen's Lane, presumably having taken over the premises of John Manners. The 1841 national census described Alexander Mathieson as a master plane-maker at 38 Saracen Lane with his son Thomas Adam working as a journeyman plane-maker. In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company acquired the Edinburgh edge-tool makers Charles & Hugh McPherson and took over their premises in Gilmore Street. The Edinburgh directory of 1856/7 the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street. The 1851 census records indicate that Alexander was working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 (Post-Office Glasgow Annual Directory) the firm is now listed as Alexander Mathieson & Son. By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, also off the Gallowgate, and that through further diversification was also manufacturing coopers' and tin men's tools. The ten-yearly censuses log the firm's growth and in 1861 Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm.A vintage tool made by a well-known firm made for other firms and individuals that worked in wood. The tool was used to shape various items mainly in use by wheel wrights. A significant vintage item from the mid to late 19th century that today is quite sought after by collectors. It gives us a snapshot of how trade people predominately worked materials such as wood by hand and with tools that were themselves hand made shows the craftsman's art of the time. Spokeshave with blade 4 inches wide.Mathieson and Son Glasgow. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spokeshave, mathieson and son, carpentry tools, wheel wright tools

The materials used to build the colonial cupboard have been gathered from various sources and recycled. In those days, it was normal to keep all manner of items 'just in case' they could be repurposed for another item. The brand "Laurel" on one of the wooden panels is from the Mobil Oil company's kerosene. There In the words of the donor, Betty Stone, "Made by Ellis Dale of Latrigg Wangoom, Warrnambool c 1890. The cupboard consists of packing cases stamped with original brand names. One drawer made from a gelignite packing case is of special significance as the Dale family owned a bluestone quarry known as The Dale Bluestone Quarries at Wangoom situated about three miles east of Warrnambool. Ellis Dale, second son of William Dale and Elizabeth (nee Chamberlain) Dale, was born in Wangoom, Warrnambool on 21 November 1860. His father, William Dale, a quarryman from Saddleworth, Yorkshire migrated to Australia in 1852; seven years later - in 1859- he purchased the quarries on twenty acres of land situated in Wangoom at the corner of what is now known as Dales and Aberline Roads. Later, when his two eldest sons, William Jnr and Ellis, reached ten or eleven years of age they worked with their father in the quarries. The work was arduous and dangerous as gelignite was used to blast the bluestone. In 1890 Ellis Dale married Ann Lees, daughter of Lees and Sarah (nee Chamberlain) Lees of Wangoom, Warrnambool. Initially Ellis and Ann Dale resided in a two roomed bluestone cottage which Ellis built a little further up the hill from his parents' home on the Dale family property. A few years later, in order to accommodate their growing family, additional rooms were added making a spacious, comfortable weatherboard home situated in Dales Road which they named Latrigg. Ellis Dale constructed this cupboard soon after he and Ann first set up home in their little stone cottage in 1890. When the home was rebuilt, the home-made cupboard was moved into the larger kitchen, and although Latrigg was well furnished, it remained in the corner between the kitchen door and the large wood stove where it served its purpose very well as it was used for storing ironing utensils. The lower compartment with the hinged drop-door was designed to store the flat irons which were heated on the wood stove, while the ironing blanket and cover, iron holders and other items were stored in the drawers. The Dale quarrying and contracting business existed in Wangoom, Warrnambool for over eighty years as after William Dale’s death. Ellis Dale together with his son lvor, continued on until he died in 1940. (Note: For additional information please refer to Betty Stone’s book “Pioneers and Places - A History of three Warrnambool Pioneering Families” i.e. Chamberlain, Dale and Lees Families)This item is associated with families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Cupboard, rare example of a Colonial Cupboard, wooden. Made by Ellis Dale from packing cases; several brand names are evident inc. Gelignite and Laurel. Cupboard is lined with newspaper and wallpaper. Panels on left side are braced by attaching a metal scraper. Comprises four compartments, three have round wooden handles, lower compartment has a hinged, drop down door. (From the Chamberlain, Dale and Lees Collection)Brands on wooden panels of cupboard include "Gelignite" and "Laurel" (Laurel is a brand of kerosene)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, dale bluestone quarries, wangoom, cupboard, colonial cupboard, furniture, gelignite, packing crate, ellis dale, laurel

The ship building company E. & A. Sewall, from Bath, Maine, USA, built many ships that had wheels with the same decorative, starburst pattern on them as this particular wheel segment, including the Eric the Red. The wheel was manufactured by their local Bath foundry, Geo. Moulton & Co. and sold to the Sewall yard for $100, according to the construction accounts of the vessel. Eric the Red was a wooden, three masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, and was the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows that Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) - about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. On 4th September 1880 the ship had been sailing for an uneventful 85 days and the voyage was almost at its end. Eric the Red approached Cape Otway in a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats, the mizzenmast fell, with all of its rigging, then the mainmast fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Cries were heard coming from out of the darkness. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts and bravery, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and a medal for bravery. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". “The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) Segment of a ship's wheel, or helm, from the wreck of the sailing ship Eric the Red. The wheel part is an arc shape from the outer rim of the wheel and is made up of three layers of timber. The centre layer is a dark, dense timber and is wider than the two outer layers, which are less dense and lighter in colour. The wheel segment has a vertically symmetrical, decorative copper plate inlaid on the front. The plate has a starburst pattern; six stars decorate it, each at a point where there is a metal fitting going through the three layers of timber to the rear side of the wheel. On the rear each of the six fittings has an individual copper star around it. The edges of the helm are rounded and bevelled, polished to a shine in a dark stain. Around each of the stars, front and back, the wood is a lighter colour, as though the metal in that area being polished frequently. The length of the segment suggests that it has probably come from a wheel or helm that had ten spokes. (Ref: F.H.M.M. 16th March 1994, 239.6.610.3.7. Artefact Reg No ER/1.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship's-wheel, eric-the-red, helm, shei's wheel, ship's steering wheel

Red Headed Woodpeckers can be found in Southern Canada and a large portion of the United States of America, generally migrating to the south if they originated in the northern regions. Their habitat is open forests or savannahs. They are classed as omnivores, finding food from pecking at wood or in flight. The Red Headed Woodpecker is threatened in Canada and some areas of the United States due to deforestation, lack of deadwood for nesting, competition with other birds, and a lack of food. They are an important part of the ecosystem, controlling insect populations and pollinating flora. Red Headed Woodpeckers typically have a beautiful, vibrant red neck and head, a stark white chest, black back, and black wings with white secondary remiges. They have a large chisel-like beak, suitable for foraging for their food. Their heads are rounded and they have short tails. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Headed Woodpecker is a small to medium-sized bird found in North America. This specimen is tricoloured: it has a red head and neck, a white chest, a black back, and black wings with white secondary remiges. It has a large chisel-like beak. This specimen has pest or humidity damage on the neck and head area. This specimen is standing on a wooden mount with a swing tag attached to it's leg.Swing-tag: 151a. Unnamed / Catalogue page, 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red headed woodpecker