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Eltham District Historical Society Inc
Photo album, Aerial view showing the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Exterior view of the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Exterior view of the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Entrance of the new Eltham Library from the front community display space, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Entrance of the new Eltham Library from the front community display space, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Tatura Irrigation & Wartime Camps Museum
Folio, Camp 3
Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports -
Uniting Church Archives - Synod of Victoria
Plaque - Portrait plaque, James Heeley, c1820
Portrait plaque of a bare headed profile bust of John Wesley left, made of bronze gilt and mounted on dark brown wood. The plaque has paper on the back on which text is printed including manufacturer's details for re-ordering. On front: "SEAL OF THE METHODIST CONFERENCE" On back: " SEAL OF THE METHODIST CONFERENCE/ THE REVD. JOHN WESLEY NAT 1709, OB. 1791/WHAT HATH GOD WROUGHT, rev. printed label in twenty lines, TO THE METHODIST CONNECTION AT LARGE/ THE WANT OF A NEW METHODIST CHAPEL IN BIRMINGHAM/ CORRESPONDENT TO THE SIZE AND RESPECTABILITY OF THE TOWN, HAS LONG BEEN FELT BY THE FRIENDS OF METHODISM, A CONSIDERABLE NUMBER OF WHOM CANNOT BE ACCOMODATED IN THE CENTRAL CHAPEL. SUBSCRIPTIONS FOR THE ERECTION OF A COMMODIOUS PLACE OF WORSHIP HAVE ALREADY COMMENCED AND THE PROFIT ARISING FROM THE SALE OF THEIS INTERESTING PIECE WILL BE SACREDLY APPROPRIATE TO THE SAME PURPOSE. THE PURCHASERS OF THESE MEDALS WIL BE MANIFESTING THEIR LIBERALITY AT THE SAME TIME AS THE PIECE ITSELF WILL OPERATE AS A MOMENTO OF OUR OBLIGATION TO THE LASBOURS AND LEARNING OF THAT APOSTOLIC MAN TO WHOM WE ARE INDEBTED FOR OUR RICHEST BLESSINGS. IT WILL ALSO REMIND US THAT WE ARE ONE BODY THROUGHOUT THE WORLD. AND WITH THESE ENLARGED VIEWS NO UNDERTAKING CAN BE TOO GREAT FOR US TO ACCOMPLISH AND SURELY THEN NO FRIEND OF METHODISM WILL BE WITHOUT ONE OF THESE IMPRESSIONS IN HIS POSSESSION. THE FRIENDS IN EVERY CIRCUIT MAY BE SUPPLIED BY APPLYING TO JAMES HEELEY MANUFACTURER OF FINE STEEL TOYS, GREAT CHARLES STREET BIRMINGHAM. JANY. 1ST 1820 ENGRAVED AND PRINTED BY R. PEART, 38 BULL STREET BIRMINGHAM."rev john wesley, rev james watkin -
Glen Eira Historical Society
Article - CAULFIELD CENTRAL RSL
This file contains six items pertaining to the Caulfield Central RSL: 1/A page to which is attached a black-and-white photograph (date, source and photographer unspecified) of the Caulfield Central RSL, outlying garden and Australian flag. Some writing on the rear identifies the subject. 2/A typewritten letter, (1 page) dated 1946 (no date more specific than that specified), from the Chairman & Honourary Treasurer of the Caulfield Central RSL Appeal Committee (name unspecified) to the Mayor of Caulfield (name also unspecified), imploring the latter for a donation of $20,000 dollars for purposes of constructing a Memorial Hall to eulogize servicemen killed during WWII. Some rough working notes on rear side. 3/A flyer, undated (although presumably published in 1950), printed by Peter Isaacson Pty. Ltd., advertising a concert presented by the Ugly Ugly Man (Frank M. Beard) and the Malvern Tramways’ Harmonica Band to be held at Caulfield Town Hall on 06/06/1950 to assist the Welfare Funds of the Caulfield Central RSL and the Sailors, Soldiers and Airmen’s Mothers’ Association. Also contains an advertisement for a drapery business called Tallents. 4/The annual report of the Caulfield Central RSL, for the period 1952 – 1953. Contains announcements of the annual general meeting and annual elections, the President’s report (in which he principally discusses the club’s charity work and sporting activities), the subcommittee staff roster, the sportsmen’s honour roll, the annual accounts (e.g. balance sheet, income & expenditure statement) and the roster of nominees for office in the committee of management election. 5/A typewritten letter, (1 page) dated 26/11/1982, from Max Brian Blair, Treasurer of the Caulfield Central RSL, to Mr. R. Ballantyne, Secretary of the Caulfield Historical Society, thanking him for his donation to the RSL. 6/A photocopy of an article titled ‘RSL pays $30,000 to buy off objector’ (from the Sunday Herald, by Mary-Anne Toy, dated 16/09/1990), about the Caulfield Central RSL paying local resident Mr. Chris White to withdraw his objection to the RSL’s intention to re-allocate its clubrooms, and the consequent response of the relevant authorities.caulfield, caulfield central returned servicemen league (rsl), ex-service organisations, clubs and associations, returned servicepeople, armed forces, soldiers, aged people, senior citizens centres, mayors, city of caulfield, war memorials, blamey thomas general sir, white t. w. group capt., gullett h. b. major, beaurepaire frank sir m.l.c., kennedy j. a. m.l.c., warner a. g. m.l.c., michaelis archie m.l.a., dennett a. h. lt.-col. m.l.a., don john capt. m.l.a., reid h. squire m.l.a., brooks w. r. cr., packer j. t. cr., parton e. m. cr., prior p. l. cr., morris t. w. cr., sinclair a. j. g. cr., sims h. e. cr., smith h. c. h. cr., smith james e. cr., tyers s. w. cr., webster harold cr., yorston j. s. cr., briggs r. jas., disney j. s., donath h., llewellyn evans, goddard s. a. padre, lynch p. j., nilsen oliver j. cr., pidd padre a. t., robinson norman, reece harold j., wootton harold s., wallace gordon w., nelson harold g., halls, concerts, musical events and activities, fundraising events, bands, musical ensembles, sailors soldiers and airmen’s mothers’ association, ‘the ugly ugly man’, beard frank m., malvern tramways harmonica band the, caulfield town hall, tallents, drapers, glenhuntly road, glen huntly road, elsternwick, peter isaacson pty. ltd melbourne, annual reports, financial documents, fisher s. w., finch f., williams f., salmon j. e., mallyon v. k., woods w., mayne t. v., lanyon r. j., rowney w. p., williams j. d., pepper e., bathurst t., patterson r., nuzum e. j., phillips e. v., turner g., hawthorn road, byrne l. j., eva a. r., bunny c. l., hoy c. a., orken a., hiam s. f., rawson n. l., coleman g. h., cohen a. s., mason j., goode l. p., nelson h. g., crosbie m. r., mcsweeney t., westley g. de v., greeves c. g., festivals and celebrations, community services, social services, service clubs, ladies auxiliary, returned servicewomen’s section, blamey house, social sub-committee, sport, sporting clubs, tennis, golf, billiards, table tennis, lawn bowls, thompson peter, cricket, children’s health bureau, family welfare bureau, buley doug mr., tomlins m. i., lang a. r., kendall h. i., ford c., munro w., gordon h., rowe s., green j. h., o’brien j., ring t., anderson g. j., croft r. m., jones p. j., la cerf g., roper i., lawrence f., eustace r. c., hanley a., moore a., strachan w. d., gilbert w. f., blair m. r., scriven e. g., miller j. l., hosking b. e., cheeseman r. n., summers s., croy l. w., mclatchie s., williams stan, hattersly cliff, day alf, rawson noel, johnson alby, banham bill, kersey b., williams s., jones a., witten f., waters r., dash r., meldrum i., grant j., haggar l., nightingale n., hallett r., somers r., young g., rawson n., croft r., barton m., o’grady w., cooper p., manton j., sutcliffe a., maver a., challender d., hunt a., parrott e., leicester j., westwood a., rae alex, smith harry, forbes jimmy, johnson jack, higgins w., fink s., hall s., ross m., anderson h., fleming j., bottoms a., peek e., stark j., mathews e., gursansky l., morres r., alenson j., holland i., wallace p., craig h., lucas j., smith h., bretel l., berryman p., reid a., swann j., tully f., henderson g., fields w., johnson j., gloster p., tennat j., boyd a., butterworth k., chapman k., curran j., elkington a. b., evans w., mckenzie d. a., nicol a. b., thompson w., wanliss t. w., watson g. j., williams g., yeomans p., mcgowan h., o’connor k., atherton r., batson s. s., bull e., fletcher a., gorman s. c., hall w., jellett l., lesar h., mather r., nelson n., ratford d., rowe p., turner w. j., wehsack f., williams s. c., wilson a., carter w., forbes i., purvis l., datson r., jackson e., wolstencroft w., smith c., mitchell r., harward j., gillespie ray, hill wally, parkinson w. g., greeves colin mr., water stan mr., selleck f. p., luckins l., andrews f., young v. l., king e. j., mccutcheon j. o., grenfell d. j., hurley c., shand a. r., yeates l., hogue h., mather j., wardrop j., lyons a. m., ross a. r., bradley t., walker r. n., cox f. c., mornane j. s., fletcher a. e., mcneil j. g., rose n., lyons l. j., trevorrow g., wright d. e., walker r., maxwell j., hutchinson j. c., mclean r., caulfield historical society, ballantyne r. mr., blair max brian, toy mary-anne, ruxton bruce mr., administrative appeals tribunal, caulfield city council, white chris mr., northcote avenue, independent church of australia, marsden ian mr., mccutcheon mr -
Bendigo Historical Society Inc.
Document - MARY ANNE MITCHELL COLLECTION CAMPBELL, CONNELLY & CO RECEIPTS, 1924-1939
Mary Anne Mitchell Collection Local Bendigo Business Receipts dating from 1924-1939. Businesses include: Campbell, Connelly & Co. Pty. Ltd. Ironmongers, Plumbers & Sewerage Contractors of Sheet Metal Goods; The Northern Seed Supply Co. Seed & Service Station; Gerrand, King & Son, Wholesale Fruiterer's & Commission Agents; Myer's Bendigo Pty Ltd. Drapers & Outfitters; Foggitt Jones Pty Ltd. Ham & Bacon Curers Central Provision Merchants & Bendigo Bacon Factory; W.J.Knight Late Knight & Wilkinson Wheelwright, General Blacksmith, Wagon & Lorry Builder, Motor Body Builders; D.Whyte's Farmers Cash Store Pty. Ltd Wholesale & Retail Grocers; Harol Pettit Used Cars; Whitelock & Carter Tailors, Mercers, Hatters & Bootmen Specialists in Ladies' Hosiery; W.Lewis Williams Chemist; J.C. Morrison Carriage Builder & Vehicle Manufacturer; Stilwell's Complete House Furnishers; Matthew Bros. General Drapers, Specialists in Men's Clothing, Mercery Manchester, Childs, Ladies'Wear etc; George Bennett Arcade Store Crockery, Glasswear, Ironmongery, Stationery, Toys; Chandlers'Hardware Stores; J.H. Curnow & Son Farm, Dairy Produce & Furniture Salesmen Fire & Livestock Insurance Merchants Bendigo Auction Rooms; Hume & Iser, Pty. Ltd. Timber & Iron Merchants; Warren's Drapers, Milliners, Outfitters, etc; Cocking's Bendigo Drapers Manchester, Dresses, Clothing, Mercery, Underclothing & Millinery; Hartley's (J.L. Shoosmith) Bicycle, Motorcycle, Motor, Sporting & Radio Store; Williams The Shoemen Pty Ltd; Walter A. Reynell & Co. Stock & Station Agents;bendigo, history, bendigo businesses -
Flagstaff Hill Maritime Museum and Village
Functional object - Cow Bell, Circa 1878
The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. It was included in the cargo of the Loch Ard. Its significance is increased by being one of a collection of artefacts recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under a Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which 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.Cow bell; a small brass bell, blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. The handle, now missing, was fixed in two places at the top. A neat half-circle piece has been cut from the base on a long edge. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers, cow bell -
Flagstaff Hill Maritime Museum and Village
Functional object - Cow Bell, Circa 1878
The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which 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 small brass cow bell, in poor condition. It is blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. A handwritten label is attached to the bel. Recovered from the wreck of the Loch Ard.Label text "["10/6/73, Brass Cow Bell, LOCH ARD, Found in the sandy hole in the centre of the wreck site. Cow bells were part of the cargo" - "10/6/73, LOCH ARD, small brass cow bell salvaged by FHMV divers"]. "LOCH ARD / PETER RONALD"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers -
Flagstaff Hill Maritime Museum and Village
Functional object - Cow Bell, Circa 1878
The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron). This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which 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. Brass cow bell, flat-top pyramid shape, rectangular head, shoulders flare out to a rectangular mouth. The hanging yoke is missing. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch ard, cowbell, great ocean road, loch line, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, cow bell, brass cow bell, shipwreck artefact, flagstaff hill divers, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell -
Flagstaff Hill Maritime Museum and Village
Functional object - Cow Bell, circa 1878
The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron). This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. 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. Cow bell, brass, covered in encrustation, handle missing from the top.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, flagstaff hill divers, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell -
Flagstaff Hill Maritime Museum and Village
Leisure object - Doll's Leg, ca 1878/
This is part of a child's toy, a doll with ceramic legs. It was recovered from the wreck of the Loch Ard. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line ships that sailed from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. 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. China doll's leg, cream and beige ceramic, foot shaped at the end of the leg. Recovered from the wreck of the Loch Ard. 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, china dolls leg, doll's leg, china doll's leg, doll's limb, ceramic doll -
Bendigo Historical Society Inc.
Photograph - HANRO COLLECTION: A COLLECTION OF PHOTOGRAPHS OF DECORATIONS FOR HANRO WINDOW DISPLAY
A Collection of Photographs of decorations for Hanro Window Display: All black and white photo's. Photo A) A soft toy of a lamb with a bow around its neck and in the mouth is a garment with Hanro embroider on it. On the back is the number 2056 hand written in blue ink. Photo B) has two cane suitcases with handles one smaller than the other. Both have flowers woven through the cane. A petticoat with lace and two thin straps at the top is laid through the larger suitcase and a sign *Hanro* sits on the bench. On the back is 2100 hand written in blue ink and in pencil VV11. Photo C) Is of a Cane French Horn with a bunch of flowers in the horn part. A Hanro sign is attached to the middle of the Horn and a petticoat with a lace bodice and hem and two thin straps is draped through the bottom of the French Horn. Some glue on the back and 2114 in biro, 14 in pencil. Photo D) Is a mock cloths line in front of a dark background with three petticoats. The first has a lace top and hem with two straps pegged to the line, the second is hung upside down with two pegs. It has a lace top with a V neck. The third has a lace V neck top and at the hem line. The garment is pegged to the line by the straps. There are two pots with flowers hanging from the line. Photo E) A vase made of cane with flowers and a Hanro sign attached. Two petticoats either side are laid on the bench both with a lace bodice. There are two Hanro signs on the table. On the back in blue ink hand written is *Dek. Nt.2094 Photo F*. There are three cane baskets with flowers and Hanro signs at the top of each hung on a wall and two cane baskets with flowers on the table. One petticoat is hung up on the wall through the baskets. The petticoat has a lace border at the bodice, The other is laid on the table, has a V neck and lace border. A Hanro sign is in front of the petticoat. On the back printed in blue ink is *Dek. Nr. 2098* Photo G) Is three bunches of flowers to have Hanro sign attached. On the back is *Dek. 2077. Photo H) Is three groups of several crystal balls strung together with pine needles at the top and the sign Hanro at the top of each. On the back hand printed in blue ink is *Dek.2124* The photos were together in a piece of paper which has writing in green ink *Decorations for clients window display*.Reg. V. Brock Studiosphotograph, hanro. reg. v. brock. -
Eltham District Historical Society Inc
Photograph, Class of 1922, Research State School No. 2959
The Children of Research State School in 1922 Photo and list of children provided by Ivy Reynolds to Ross McDonald. Ross has supplemented and filled in some blanks, from the children names in Andrew Lemons book 'Return to Research. A centenary of Research Primary School, 1989 ' page 103. Additional commentary provided by Ivy Reynolds in 2006. 1. Winnie La Frenz - a great friend of the Reynolds 2. Ruth Thompson - Wally Buttwell's niece 3. Bertha Wiltshire 4. Ivy Dickson (who grew up to be a good-looking woman) 5. May Norman - a cousin to the Reynolds through Ernest Reynolds 6. Elsie Shaw 7. Veenie Turner (Ivy was not 100% sure of her surname, but said she was not related to Hazel Turner) 8 Lil La Frenz (Lilian) - a bright spark and a lively tennis player 9 Lily Wilson (looks like a boy) - had red hair 10 Hazel Turner - a cousin of the Reynolds who lost her mother very early in life. Her father remarried and the family then became Roman Catholics, which in those days, caused them to become distant with the Anglican Reynolds family 11 Lila Dickson (Lyla) 12. Jack Wilson - a red-head like his sister 13. Len Blashick 14. Marjory Palmer 15 ? Burgoyne 16 Lance Doney and 17 Bill Doney. Cleaver boys who went to Ivanhoe Grammar. Both caught TB from their mother and died young. 17. Bill Doney - The Doneys were clever boys. They went to Ivanhoe Grammar after Research Primary and this educational advantage caused them to grow apart from the local boys. Both caught tuberculosis from their mother and didn't live long. Lance died first, but Bill survived long enough to join the Merchant Navy. He eventually entered the Mont Park Sanatorium where Ernest Reynolds used to visit him every Sunday. The Doney boys were keen on Margaret and Ivy Reynolds at one stage (probably before they became seriously ill) and Bill gave Ivy a macrame belt he'd made. 18 ? Burgoyne 19 ? Messen (Frank or Alex Masson) 20 Neville West 21 ? Shaw 22 ? Shaw 23 Neil Palmer 24 George Shaw or his brother Bertie 25 George Shaw or his brother Bertie 26 Eva Kilson 27 Lorna Turner 28 ? Henry Fox (or possibly Eric?) 29 Nancy Storey (adopted) 30 Mona Fox 31. Nell Storey (also adopted) She married Sam Howard and they had 2 daughters. One went to Queensland, the other lived locally and helped at the Research Anglican Church. 32 Victor Davey 33 Margaret Reynolds 34 Ethel Davey - cousin of the Reynolds through Ernest Reynolds 35 ? Randall (Freddie) 36 ? Randall (Kitty) -Their father was a builder who made toys for every child at the school one Christmas 37 Ronnie Turner 38 ? Ivy couldn't remember his name, but thought he lived at the Research Hotel 39 John Reynolds 40 Jim Davey 41 Unknown 42 Ivy Reynolds 43. Unknown - one of the unknown boys is Jimmy Storey 44. Unknown 45. Unknown 46. Dorothy La Frenz 47. Eric Fox 48. Unknown 49. Possibly Bert Shaw One of the boys in the photograph is Jimmy Storey The Reynolds family were early settlers in Research. The Reynolds/ Prior collection of photographs were taken by Tom Prior, the maternal uncle of Ivy Reynolds, around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy lived in the family home for many years at 106 Thompson Cres Research. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage. Black and white photograph mounted in an album, the Reynolds/Prior Photograph Collection, this being one of 53 reproduced black and white images of early Eltham.The Reynolds/Prior Photograph Collection, Presented to the Eltham District Historical Society, 14 June 2006 by Ross McDonald. A second copy was also presented to the Andrew Ross Museum, Kangaroo Groundreynolds prior collection, research (vic.), research school, schools, school children, state school no. 2959, winnie la frenz, ruth thompson, bertha wilshire, ivy dickson, may norman, elsie shaw, veenie, lil la frenz (lilian), lily wilson, hazel turner, lila dickson (lyla), jack wilson, len blashick, margery palmer, burgoyne, lance doney, bill doney, frank messen, alex masson, neville west, shaw, neil palmer, george shaw, bertie shaw, eva kilson, lorna turner, henry fox, eric fox, nancy storey, mona fox, nell storey, victor davey, margaret reynolds, ethel davey, freddie randall, kitty randall, ronnie turner, john reynolds, jim davey, ivy reynolds, dorothy la frenz, bert shaw, jimmy storey -
Flagstaff Hill Maritime Museum and Village
Functional object - Rod, Approx. 1871
This rod was salvaged from the American three-masted wooden clipper ship, Eric the Red, named after the Viking discoverer, Eric the Red. The ship first traded in coal between America and Britain and later traded in guano nitrates from South America. In 1879 its hull was re-metalled and the vessel was in first class condition. On 10th June 1880 Eric the Red departed New York under the command of Captain Z Allen, with 24 crew plus two passengers. It was heading for Melbourne and then Sydney. The ship was commissioned by American trade representatives to carry a special cargo of 500 American exhibits for the U.S.A. pavilion at Melbourne’s first International Exhibition. The items included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, and samples of corn and the choicest of leaf tobacco. Also on board was general 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 ship had been at sea for 85 days when, on 4th September 1880, it hit the Otway Reef on the southwest coast of Victoria and was quickly wrecked. Captain and crew ended up on floating parts, or in the long boat or the sea. He was amongst the 23 battered and injured men who were rescued by the steamer Dawn and later taken to Warrnambool, where they received great hospitality and care. Four men lost their lives; three crew and one passenger. Captain Allen took the train back to Melbourne and then returned to America. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts, being thanked and presented with substantial monetary rewards, medals and gifts. The salvaging ship 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 found the name of the wrecked vessel. The government steamer Victoria and a steamer S.S. Otway picked 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 onto Point Franklin. Some of the vessel's yards and portions of its masts were on shore with pieces of canvas attached, confirming that the vessel had been under sail. On shore were many cases of Diamond Oil kerosene labelled R. W. Cameron and Company, New York. large planks of red pine, portions of a small white boat and a large, well-used oar. There were 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”, and kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts. Other cargo remains included croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a flywheel, a cooking stove, timber, boxes, pianos, organs, wooden clothes pegs and a ladder. There were three cases of goods meant for the Exhibition Other items salvaged from amongst the debris floating in the sea were chairs, doors, musical instruments, washing boards, nests of trunks and flycatchers. 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 a 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. A life belt was once on the veranda of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. Parts of the ship are on display at Bimbi Park Caravan Park and Apollo Bay Museum. Flagstaff Hill Maritime Village also has several artefacts from the wreck. There seemed to be no personal luggage or clothing. “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)Iron rod with flat lugged washer. The rod is made of a heavy metal with encrustations and signs of rusting on the surface. It is stepped down in diameter mid-shaft and is slightly bowed on the narrower end. The narrow end flares out slightly in the last few centimetres with a burred foot and has a circular head on the wider end. The washer on the narrower end cannot move past the centre or the narrow end of the rod. The washer is a different metal from the rod and has a small lug jutting out along the circumference in one position. The rod was recovered from the wreck of the ship the Eric the Red.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rod, iron-rod, eric the red, steamer dawn, cape otway reef, 1880, captain allen, usa pavillion, melbourne exhibition, melbourne international exhibition, captain jones, medal, united states government, pharos, a. james, flag board, steamer victoria, steamer otway, diamond oil, r w cameron and company, long and co., t s and co melbourne, a. field and son, taunton, massachusetts, ketch apollo, ship nail -
Flagstaff Hill Maritime Museum and Village
Rubber ball, 19th Century
This rubber ball was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. A press report notes that the balls collected from the Fiji’s cargo were originally red and white. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. This toy rubber ball is classified as Fiji 3 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Rubber ball salvaged from the wreck of the Fiji. The rubber is perishing and the surface is pitted and bumpy. The material is tan in colour with a slightly pitted surface. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, wreck bay, moonlight head, 1891, cargo, rubber ball, toy, fiji, captain vickers, william vickers -
The Beechworth Burke Museum Research Collection
Card (Series) - Index Card, George Tibbits, Ford Street, Beechworth, 1976
George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits -
Federation University Historical Collection
Photograph, Pioneers of Ballarat
The Pioneers of Ballarat may have been created to the Ballarat Old Colonists' Association and the reunions held by the early Ballarat pioneers. The dates given after the pioneers time is their date of arrival into the colony.Photograph showing numerous portraits of men who were considered Pioneers of Ballarat as complied by R. Walker and produced by Chuck Vice Regal Photo. The men depicted are: J. Smith; W. Gay; W. Downie; G. Goddard; B. Varcoe; A.F. Seidal; Loius Balhausen; J. McKenzie; William irwin; M. Box; Thomas Bath; James Oddie; William Tulloch; J.W. Graham; J. Ward; W. Curnow; R.J. Binder; F.J.L. Turner; W. Eyres; C.A. Welch; B. Welch; G. Welch; J. Lake; H. Smith; J. King; R.T. Wreford; Ernest Balhausen; J. Ward; T. Trengrove; J. Truswell; J. Taylor; W. Seeley; J.P. Murray; Hon. David Ham; Andrew Anderson; E. McCartney; J.H. Smith; Joseph Edward Cowley; A. Jones; W.H. Furness; F.N. Martin; James Anderson; G. Becher; James Meek; T. Hawkins; P. Drummond; C. Barker; J. Malcolm; R. Brown; G. Tupper; A. Rose; W. Pinkerton; A. Clinton; A. Sheppard, F.C. Downes; J.A. Blight; J. Blight; T. Blight; J. Richardson; C.W. Toy; W.C. Elder; E. Towl; S. Walker; W.P. Martin; J.T Langley; J.A. Abramowitch; R, Allan; S.W. Woodward; G. Hunt; J. Bishop; F.L. Graham; R. Graham; W. A.G. Fraser; J. Davies; J. Paterson; B.G. Tucker; E. McElroy; W.H. Burton, T.C. Coates; J. Williams; J.P. Roberts; J. Ritchie; T.W. White; J. F. Harvey; Natale D'Angri; D. McCallum; W. Chisholm; P. Kohl; J. Moncrief; J.P. Marshall; R.U. Nicholls; G.L. Holthouse; C. Gray; W. Gale; James Long; Theo Williams; J.R. Ellsworth; W. Scott; Henry Josephs; D. Cooke; William Little; T.H. Thompson; E. Morey; J.G. McDonald; C.C. Shoppee; G. Douglas; W. H. Ellis; W. Hicks; J. Cameron; W. B. Koppers; F. Marendez; G. Herrmann; J. Kelly; E. Jermyn; P. Murray; P. Gay; D. McNaught; T.D. Wanliss; G. Lord; H. Glenny; J. Trethowan; J. Blandford; J. Goujon; W. Coad; A. Colliver; J. Nunn; J. Munro; W.C. Burbidge; J. Jarvie; C. Ferguson; C. Morris; J. Russell; J. Phillips; J. Coghlan; R. Clark; Thomas Stoddart; M. Wasley; B. Retallack; John Reid; M.C. Carey; P. Maloney; E. Newman; J. Lamb; J,. Pryor; J. Gibson; James Mitchell; J. Rowe; James Vallins; A. Roxburgh; A. Cant; O. Thomas; J.Y. McDonald; W.M. Acheson; A. Jack; R. Gibbings; E.W. Chamberlain; J.H. Ellsworth; J. Falconer; G.G. Lorimer; James M. Bickett; T. Sayle; Andrew McIntyre; W. Hambley; K. Coutts; T. Muir; R. Scott; G. Leach; E. Richards; R. Hearn; J. Hughan; D. Miliani; E. Parr; J. T. Irving; W.G. Williams; J. Marks; J. Darby; T. Ray; D. McKenzie; James Robson; J. Robson; J. Moore; J. Murphy; Robert M. Serjeant; C. Ford; E.E. Campbell; P. Folland; P.J. Rickard; A. McVitty; B. Angwin; J.T. Sleep; M.P. Whiteside; W. Curtis; H. Crisp; E. Major; R. Pearce; J. Waller; G. Waller; G. Abrams; J. McIntyre; J. Johnston; W. Johnston; W. Taylor; J. Knoth; J. Davey; G. Smith; N. Kent; E.O. Witherden; J.B. Cathcart; W.H. Harrow; G. Evans; L. Ure; W.T. Glen; T. Dickinson; D. Hughes; J. Strickland; J. Hillman; E. Jackson; R.J. Walker; D. Gunn; R.J. Gullan; T. McManamy; A. Gray; James trembath; W. Porter; J. Showman; C. Walker; J. Bowman; W.B. McDonald; P. Jago; J. Stout pioneers, ballarat, chuck, chuck vice regal photo, r. walker, ballarat pioneers, pioneers of ballarat, j. smith, w. gay, w. downie, g. goddard, b. varcoe, a.f. seidal, loius balhausen, j. mckenzie, william irwin, m. box, thomas bath, james oddie, william tulloch, j.w. graham, j. ward, w. curnow, r.j. binder, f.j.l. turner, w. eyres, c.a. welch, b. welch, g. welch, j. lake, h. smith, j. king, r.t. wreford, ernest balhausen, t. trengrove, j. truswell, j. taylor, w. seeley, j.p. murray, hon. david ham, andrew anderson, e. mccartney, j.h. smith, joseph edward cowley, a. jones, w.h. furness, f.n. martin, james anderson, g. becher, james meek, t. hawkins, p. drummond, c. barker, j. malcolm, r. brown, g. tupper, a. rose, w. pinkerton, a. clinton, a. sheppard, f.c. downes, j.a. blight, j. blight, t. blight, j. richardson, c.w. toy, w.c. elder, e. towl, s. walker, w.p. martin, j.t langley, j.a. abramowitch, r, allan, s.w. woodward, g. hunt, j. bishop, f.l. graham, r. graham, w. a.g. fraser, j. davies, j. paterson, b.g. tucker, e. mcelroy, w.h. burton, t.c. coates, j. williams, j.p. roberts, j. ritchie, t.w. white, j. f. harvey, natale d'angri, d. mccallum, w. chisholm, p. kohl, j. moncrief, j.p. marshall, r.u. nicholls, g.l. holthouse, c. gray, w. gale, james long, theo williams, j.r. ellsworth, w. scott, henry josephs, d. cooke, william little, t.h. thompson, e. morey, j.g. mcdonald, c.c. shoppee, g. douglas, w. h. ellis, w. hicks, j. cameron, w. b. koppers, f. marendez, g. herrmann, j. kelly, e. jermyn, p. murray, p. gay, d. mcnaught, t.d. wanliss, g. lord, h. glenny, j. trethowan, j. blandford, j. goujon, w. coad, a. colliver, j. nunn, j. munro, w.c. burbidge, j. jarvie, c. ferguson, c. morris, j. russell, j. phillips, j. coghlan, r. clark, thomas stoddart, m. wasley, b. retallack, john reid, m.c. carey, p. maloney, e. newman, j. lamb, j, . pryor, j. gibson, james mitchell, j. rowe, james vallins, a. roxburgh, a. cant, o. thomas, j.y. mcdonald, w.m. acheson, a. jack, r. gibbings, e.w. chamberlain, j.h. ellsworth, j. falconer, g.g. lorimer, james m. bickett, t. sayle, andrew mcintyre, w. hambley, k. coutts, t. muir, r. scott, g. leach, e. richards, r. hearn, j. hughan, d. miliani, e. parr, j. t. irving, w.g. williams, j. marks, j. darby, t. ray, d. mckenzie, james robson, j. robson, j. moore, j. murphy, robert m. serjeant, c. ford, e.e. campbell, p. folland, p.j. rickard, a. mcvitty, b. angwin, j.t. sleep, m.p. whiteside, w. curtis, h. crisp, e. major, r. pearce, j. waller, g. waller, g. abrams, j. mcintyre, j. johnston, w. johnston, w. taylor, j. knoth, j. davey, g. smith, n. kent, e.o. witherden, j.b. cathcart, w.h. harrow, g. evans, l. ure, w.t. glen, t. dickinson, d. hughes, j. strickland, j. hillman, e. jackson, r.j. walker, d. gunn, r.j. gullan, t. mcmanamy, a. gray, james trembath, w. porter, j. showman, c. walker, j. bowman, w.b. mcdonald, p. jago, j. stout, john smith -
Flagstaff Hill Maritime Museum and Village
Souvenir - Rope Sample, before September 1891
The rope was part of the distress rocket used during the time that the sailing ship Fiji was in distress, before it became a wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and distress rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Cartland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryan's Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to River nook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the last man being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to River nook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967.This rope is part of the collection of artefacts from the wreck of the Fiji. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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).Rope, plaited, brown in colour, cut straight at one end, and the other end is separated into 3 pieces, from distress rockets used during the wreck of the sailing ship Fiji. Rope was in envelope printed with an address, and a description, and there was a display card with further details on it. Printed on the envelope: "Shire of Hampden / PO Box 84, Camperdown 3260" Hand written "rope of wreck of Fiji / 7cm / Mr Wm "Boyce" Display card with rope includes words "Piece of Rope from the Fiji distress rockets and was donated to Flagstaff Hill by a private donor in 1989"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, rope, the fiji, william boyce, distress signal, rocket rescue, life saving equipment -
Flagstaff Hill Maritime Museum and Village
Photograph, C. 1891
Photograph shows the ship FIJI where she met her demise, in Wreck Bay, on the shipwreck coast of South West Victoria. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are china miniature animals, limbs from small china dolls, rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and White Photograph of the ship "Fiji" taken from Wreck Creek. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, pocket watch, fob watch fiji, william vickers, william robe, bill robe, gebauhr, stansmore, carmody, wreck bay, moonlight head, fiji shipwreck 1891, port campbell rocket crew, wreck bay victoria -
Flagstaff Hill Maritime Museum and Village
Textile - Rope Sample, After September 1891
The light line or rope used to construct this Turk’s Head knot was part of the line line-throwing apparatus used by the Rocket Rescue Crew. In normal operation a rocket carrying the line was fired over a ship, fastened to the ship, then hauled by the crew to pull a heavier rope from shore, which would have a canvas ‘breaches buoy’ attached to it. A tripod or triangle would be used to keep it free from breakers and rocks. One by one the crew on the wreck would sit in the buoy and be hauled safely back to shore. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the last man being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967.This rope is part of the collection of artefacts from the wreck of the Fiji. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Rope salvaged from the distress rocket rope line used in the rescue of the crew of the sailing ship “Fiji”. The light-weight brown rope has been crafted into a decorative 'Monkey fist' or 'Turk’s head' knot using three interwoven strands. 1891, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, rope, moonlight head, wreck bay, distress rocket, line, light line, rocket rescue apparatus, rocket equipment, rocket line -
Flagstaff Hill Maritime Museum and Village
Candlestick holder, Made on or before 1891
This candlestick holder is one of the artefacts salvaged from the wreck of the Fiji. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the last man being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are china miniature animals, limbs from small china dolls, rubber balls, a glass bottle and a sample of rope from the distress rocket. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife.This candlestick holder is Artefact Reg No Fiji/2, part of the Fiji collection. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Candlestick holder or Chamber Candle. Made of china, off white in colour with crazed glazing. The round concave dish has the base of a round candle holder in centre (remainder of holder has been broken off). The base of a circular china finger ring is attached to both the rim and the dish, about ¾ of the way towards the centre - the top 2/3rds of the finger ring is broken off. A conical thimble-like spike, placed about a quarter of the way around from the finger ring, is intact. This spike was probably used to hold a candle snuffer of similar but larger size and shape. The candlestick holder was recovered from the wreck of the Fiji.1891, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, fiji, pocket watch, moonlight head, candlestick holder, candle holder, chamber candle -
Flagstaff Hill Maritime Museum and Village
Slate pencil, Made on or before May 1891
Slate pencils were made from a rod of soft slate material and used for writing on thin slate boards. The slate boards were approximately 9cm x 12cm used in schools for writing practice in place of pencil and paper, which were more expensive and less durable. They could be used then easily erased for re-use. In work places, slate boards were sometimes bound into slate books The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are china miniature animals, limbs from small china dolls, rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Remnants of a black slate pencil salvaged from the wreck of the Fiji. Pencil has no casing and is in three pieces. One piece is broken laterally and has a rounded end. The other two pieces have a longitudinal break and fit together. (The nature of the break indicates a material of natural formation, for example sedimentary rock such as slate.) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, slate pencil, pencil, slate board, writing, stationery -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen