Painting: 'Tennis in the Park' on stretched canvas, in bevelled display frame. Signed lower right 'RAYMOND SIPOS-76'. Inscription on back of canvas: 'ALL REPRODUCTION RIGHTS/ ARE RESERVED BY THE /ARTIST/ PAINTING BY/RAYMOND SIPOS/12-15-76'. Has horizontal hanging wire between D-rings. Materials: Oil paint/Pigment, Canvas/Cotton, Metal, Wood, Clothtennis

Framed page from unknown magazine. Reproduction of lithograph depicting match at Wimbledon in 1881 between Herbert Lawford & William Renshaw. Caption states" THE LAWN TENNIS CHAMPIONSHIP MEETING AT WIMBLEDON - THE FIFTH ROUND OF THE ALL COMERS' MATCH'. Artist's name appears in lower right corner: 'ARTHUR HOPKINS '81'. Materials: Ink, Paper, Wood, Cardboard, Metal, Glasstennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features an informal group portrait of men, women, teenage girls and a boy. Many of the girls hold tennis racquets. A neo-classical sculpture of a maiden features behind the subjects. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features a group portrait of men, women, and children. Some of the subjects hold tennis racquets, whilst one lady holds a croquet mallet. Behind the subjects is a wooden pavillion. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

A colour lithographic print of a female in full period tennis gear, holding a tennis racquet on her lap, and seated upon an umpire's chair. Inscription across bottom of image, in German: EWALD THIEL: PREISRICHTERIN BEIM LAWN-TENNIS (trans. Ewald Thiel: [Female] Lawn Tennis Umpire). Materials: Paper, Ink, Wood, Paint, Paper, Metal, Cardboard, Glasstennis

Two pages from Harper's Weekly magazine (pp. 873 & 874), unknown issue. The pages feature a section entitled: 'AMATEUR SPORT', including images (from photographs) of seven leading players, and two American championship trophies; and including a results tree from the 1893 Championships at Newport. Materials: Ink, Paper, Cardboard, Wood, Metal, Adhesive label, Glasstennis

A colour lithographic print of two men and two women relaxing and having refreshments under a tree, after playing a game of tennis. The racquets and balls lie idle on the empty court in the background, and are being watched over by a dog. Beneath the image is a printed, tennis-themed poem, entitled 'Love's Idelness'. Materials: Paper, Ink, Wood, Paint, Paper, Metal, Cardboard, Glasstennis

Page featuring print (reproduction) with two panels: upper panel depicts musicians and men with sporting equipment; lower panel depicts women in Elizabethan costume. Title caption states: 'EUROPA XVI-XVII TH CENT'Y...EUROPA XVIE-XVIIE SIECLE...EUROPA XVI-XVII'TES JAH RT'. UV glass. Materials: Paper, Ink, Cardboard, Wood, Metaltennis

(1/2) A silver & amber cigaretter holder (Austrian), with relief of scene on silver section depicting a male figure holding a tennis racquet. No makers marks. (2/2) Custom case for housing part 1; made of wood, leather and lined with velvet and cloth. Printed in gold ink on cloth inside lid: 'ECHT SILBER & BERNSTEIN'. Materials: Silver/Metal, Ambertennis

Pair of wooden pull puppets; (.1) male and (.2) female figures both wearing checked clothing and holding tennis racquets. Arms and legs of figures are articulated and joints held with metal pins. each has a red cotton pull string with red wooden bead attached. Probably replicas of late 19th Century toys. Materials: Wood, Ink, Stringtennis

Gold brooch in shape of a racquet and ball housed in jewellers box. Engraved on obverse: '23 MAY 1910'. Engraved in ornate script on reverse: 'MLM/HARROGATE'. Box is blue velvet, with text printed on lining of underside lid: 'MAKERS TO THE ADMIRALTY/WATCH/MANUFACTURERES/& JEWELLERS/S.GREENOUGH & SONS/45/NEWPORT ST/BOLTON'. Materials: Gold/Metal, Velvet, Wood, Metaltennis

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. W. D. Vaughan, Mayor [of Kew] 1937-38, 1947-48, 1961-62. [This is the second mayoral portrait of Cr. Vaughan in the collection] The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.Cr. W.D. Vaughan, Mayor / 1937-38, 1947-48, 1961-62 Stuart Tompkins Studiosmayors of kew (vic), cr. w. d. vaughan, kew (vic.) — municipal collection

The point of view of the artist is looking towards Kew from the vicinity of Xavier College. The paddocks in the foreground are bordered by Wellington Street. In the distance the towers of the asylum can be see, further narrowing the date to after 1870s. The work exists in a number of original versions including a colour print.Kew, ca. 1870 - ca. 1880. Reproduction of a book plate from an original wood engraving, of an elevated view of trees and paddocks with a town in the background. The illustration is signed R. JENNY Sc. [Rudolph Jenny 1827-1905, lithographer.] A version from which this reproduction may have been made was donated to the State Library of Victoria by the National Trust, Victoria in 1985. kew (victoria), wellington street -- kew (vic.)

Mrs G. I. McCabe invented the ruler around 1930 in Sydney NSW and founded several branches of the McCabe academy of Dressmaking based on its use in Australia and London.A light coloured 'McCabe Faultless System of Cutting', dressmaker's folding, wood and metal ruler, Australia, 1950 - 1970. One side has six proportions for cutting bodices, the back has measurements for cutting coat and blouse sleeves only, as well as 12 inches markings. Copyright patented details are stamped onto the back side in black, as well as all measurements. 'McCabe Faultless System of Cutting' as well as many detailed measurements for dressmaking. 'Copyright Patented No 6783 54637' is stamped on the back. 'Patented Com No 6783 N.Z No 54637' is tam[ed on the front top.dressmaking equipment, sewing equipment, measuring instrument, measuring rulers

Fire screens were developed early in the 19th century to prevent sparks from flying into the room or logs rolling out when a fire was left unattended. They also served as ornamental or decorative items, particularly ones such as this fire screen made from beaten or forged copper. Their decorations often depicted rural scenes.This item is representative of fire screens used in Australian homes to protect them from fire during the 19th and early 20th century when open fires were the main form of household heating.A fire screen made from beaten copper with a wooden frame. The screen design depicts a group of people sitting outside an Elizabethan building with a dog in the foreground and trees either side. The building is possibly a tavern as the people are seated on barrels. The frame is made from wood and has wrought iron legs screwed in place on either side and a handle attached at the centre top edge.forged copper, fire screens, decorative household items

A separator is a centrifugal device that separates milk into cream and skimmed milk. Separation was commonly performed on farms in the past. Most farmers milked a few cows, usually by hand, and separated milk with a hand operated machine for domestic use. The milk was poured into the bowl on the top and the handle had to then be turned fast enough to get the separator up to speed adequate to separate the cream and the milk. The milk would come out of one spigot and the cream out of the other. In general practice some of the skimmed milk was consumed by the family, while the rest may have been used to feed calves and pigs. Enough cream was saved to make butter, and the excess was sold. In many cases excess could be bartered or swapped with neighbours for other items of produce. ALFA-LAVAL SEPARATORS The principal works and head office of Aktiebolaget Separator was established by Gustaf de Laval in Stockholm. The first Laval milk separator was patented in1884. In Australia three old established firms commenced pioneering the Alfa Laval cream separators in about 1885. These were A. W. Sandford & Co. Ltd., in Adelaide, J. Bartram & Son, of Melbourne, who have ever since been the Victorian agents of Aktiebolaget Separator. In New South Wales and Queensland, the pioneering firm was Waugh & Josephson Ltd. J. Bartram & Son, the distributor of the separator in this collection, established their business in Melbourne in 1881. In 1892 Bartram & Son estimated that 1,130 of these machines were operating throughout Victoria. This item is significant as it is representative of domestic and dairying machinery used throughout rural areas of Australia in the early to mid 20th century.The separator is made in 3 sections. The base is made from cast iron. The cover and vat are made from silver painted tin. There are 2 outlet spouts. The detachable handle, made from cast iron and wood, is held in place by a screw. A name plate featuring the Victorian distributor, J Bartram & Son of Melbourne and a plate outlining patent information are attached to the base by screws.Around edge of wheel "Aktiebolaget Separator Stockholm/ 2236"dairying industry, dairy machinery, milk separators

BHS CollectionBlack and white photographs (2) mounted on rectangular grey board. House, weatherboard and rougheast, corrugated iron roof, 2 chimneys, decorative gables, porch with brick, render and timber pillars, wood slat fence with capping board, gate with lintel over, established garden. On back of photoboard " A. McDonell, Neale and ....... Streets, £1050 sewered' 2012 photo of house attached to record.Frank A. Jeffree, Bendigoresidential, t.c. watts and son, a. mcdonnell, neale street, bendigo

Colour photograph of the 1986 - 1987 of the BTPS Board, standing alongside No. 26. Photo taken with C. Deans camera - John Phillips. Left to right: On tram - Paul Miller, Carolyn Dean, Richard Gilbert. On ground - Howard Stoney, Frank Hanrahan, Garry Wood, Andrew Mitchell, Stephen Butler, Paul McDonald, Peter Winspur and Alan Bradley. Photo taken 12.10.1986"In ink on back "113 6 12.10.86"btm, btps board, tram 26

Model bus - AEC Regal Mk 3, Comeng, made by The Met or the MMTB for their model tram at the Royal Show Melbourne c1985. See http://www.busaustralia.com/fleetlists/vicdisp.php?search=AEC3C - accessed 15/6/2020. Appears to be made from wood and then painted. May have originally been painted in MMTB colour and then painted in The Met Metropolitan Transit colour scheme.trams, tramways, models, buses, the met, royal show

This small desk was donated to the St. Nicholas' Mission to Seamen's Church by Mrs R Hidgekiss. It was used as a prayer desk or missal desk and was part of the original furnishings of the church at 139 Nelson Place, Williamstown, Victoria. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity that has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This prayer disk is significant historically for its origin in the St. Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. The organisation originated in Bristol, England when a Seamen's Mission was formed in 1837. Desk: Cedar wood desk of plain design with a sloped top. It has plain tapered legs, a hinged lid, a keyhole at the front, and raised edges at the front and back. Storage space under the lid has a tongue and groove wooden base. It has been referred to as a prayer desk, missel desk or writing desk. This desk is part of the St. Nicholas Seamen's Church Collection. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, desk, writing desk, office furniture, domestic furniture, writing slope, clerk's desk, flagstaff hill maritime museum and village, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, religious worship, worship service, st nicholas seamen’s church, williamstown, missions to seamen victoria, mission to seafarers, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, prayer accessory, church furniture, religious furniture, prayer desk, missal desk, mrs r hidgekiss

Northern District School of Nursing student memories.A short written description (transcribed to print) by Madeline Thornhill (Wood) School 49 of her time on staff at Lister House as supervisor of Mayfort and being taught how to teach by Jack Hutley. Mention made of staff members: Marjorie Turner, Peg Donohoe, Win Stock, Marjorie Scott and Nance Long. Also mentioned are Miss Tredinnick and Mrs Woodie and Jim Goodwin.nurse, education

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘jappaned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. There is a piece of corroded iron encrusted at an oblique angle on the tile’s rear face. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, colonial architecture, victorian building materials

Bendigo Health publication. "Commemoration booklet celebrating the contributions made by Bendigo's doctors and nurses during the first World War".Soft cover book. Cover, cardboard with adhered paper cover. White and red print on front and back covers. Illustrated front - black and white group photograph of eight nurses in uniform and one Doctor in uniform, with red colour poppy flower middle right. Back - black and white photograph of 150 years sign on brick building wall. 41 pages, cut, plain, white paper. Illustrated in black and white and colour, group photographs, awards, memorabilia and sketches.books, history, ww1, bendigo

The book has black leather covers which are heavily embossed with an Australian Coat of Arms and featuring gold printing, scroll work and patterns. The title of the book is on the spine which also has gold patterns. The cover is torn at the top left hand corner. The inside cover is water damaged. The gilt edged pages contain printed text, black and white and tinted illustrations and coloured maps. There is a narrow ribbon book mark , a pressed leaf and a cut out card flower inserted in the pages.non-fictionA history of Australasia written in late 18oo'saustralasian history, alice gamble, a history of australasia 1870, warrnambool

Owner and donor details - see Cat No. 5836.3. "HALF A LIFE" "The Diary of a Tobruk Rat". From foreword "The man and soldier about whom this book is written is QX8135, Private E.H. (Snowy) ROSELT and the story is written by his daughter" Hard cover book. Cover - cardboard with paper adhered. Brown and black colour print on front, spine and back with dark beige background. Illustrated front to back - black print silhouette of a "Garry (Snowy) Roselt at Post R20, Tobruk - 1941". 197 pages - cut , plain, white paper. Illustrated - black and white photographs and maps. Front and back end papers - illustrated, sepia toned pages of a diary. front end papers - owners signature and author's signature.Front end papers - handwritten owner's information blue ink "B.D. Carr/ V6/32 Jan St/ Cheltenham, 3192" Handwritten author's signature black ink "Kind Regards/Marge Smith/ 28 Jan 1999"books, military history, ww2, tobruk, biography

Owner and donor details - see Cat No. 5836.3.Hard cover book with dust cover. Cover - cardboard, with yellow buckram. Gold print on spine. Dust cover - paper, cream colour print on front and spine. Illustrated in black and white, a collection of ten photographs and artwork. 323 pages - cut, plain, white paper, Illustrated - colour and black and white photographs, posters, drawings and artwork. Front and back end papers - illustrated sepia tones photograph of troops and barbed wire in silhouette. Front end paper - handwritten name.Front end paper - handwritten blue ink signature "Ron Bollard".books, military history, pictorial books

From Title page. "THE/ LOST BOYS/ The untold stories of the under-age soldiers/who fought in the First World War"Hardcover book with dust cover. Hard cover - cardboard, white print on spine, illustrated front and back, black and white photographs of battle scenes. Dust cover - paper, black & white print on front, spine, back and front and back flaps. Light brown background, front illustrated sepia toned portrait photograph of soldier in uniform. 364 pages, paper, cut, plain, white, illustrated black and white and sepia tones, photographs and maps. End papers - black.books, ww1, biography