Framed photographs 7864P and 7865P - both unknown persons.Photograph - black and white mid length portrait photograph of a woman dressed in evening wear. Studio type photograph with window, plants and plant stand in background. c.WW1. Frame - timber with dark brown stain. Decorative moulding with inner edge of gold colour decorative timber. Mount - dark brown cardboard, glass front and cardboard backing.framed accessories, portrait, coates family 1

A Dray is a type of dead axle wagon that was used to transport heavy loads or objects. They had a flat level floor and while some had no sides, others had box bodies and sides. Tip Drays (also known as Tip Carts, Muck Cart, Scotch Cart, Tumbrel or Putt in different parts of England) were smaller than other drays as their loads were heavy and usually only pulled by one horse. Their basic design included two wheels, a tipping body and shafts. The Tip Dray has a unique mechanism that allows the top to tip backwards to tip the load out of the back of the dray. The tipper was activated by a handle at the front allowing the driver to operate it while still having control over the horse. A Tip Dray was an indispensable piece of equipment in the days before tractors and mechanical trucks. They were used by farmers and carters to transport hay, rocks, bricks, gravel and rubbish etc. and because they were useful for dumping loads, they were favoured for use in road and railway construction. A photo in the collection of the Lorne Historical Society shows a tipping dray being used during the construction of the Great Ocean Road. They were part of the daily street traffic in towns and cities around Australia from the early days of settlement. In Australia in the early 1900's, carters began to join unions to protect their jobs and pay. N.S.W. had a "Trolley, Draymen and Carters Union", Queensland had a "Tip Dray Men's Association" and in W. A. the "Top Dray Driver's Union" had a "cessation of work" in 1911 when they were fighting for an increase in their day's wages. In 1910 a meeting of Tip Carters was held in Geelong at the Trades Hall to discuss the formation of a union (The Geelong Tip Dray Carters) which was a success and a schedule of rates for all carting, whether by contract or day labor, was fixed. By 1912 they had "labelled" more than 50 drays and had representatives on the "Trades Hall and Eight Hours Committee". By the mid 1930's and early 1940's, tip drays were being superseded by mechanical trucks and utes. However tip drays continued to be used in some circumstances. They were a practical solution to the problem of petrol rationing during W. W. 2. It was noted in a letter to the editor in the "Sunshine Advocate" in 1938 that a positive argument for continued use of Tip Drays for rubbish collection related to the idea that a horse drawn vehicle involved with lots of stops and starts at different houses (very like a milkman's delivery route) often involved the horse "driving itself" while the driver picked up the rubbish - something a motor truck was unable to do! Another article written in August 1935 and published in the Age in a parliamentary report into the rubber industry noted "tip drays had almost disappeared and in their place, metal was carted in 5 ton motor trucks" but the report went on to say that as a part of the Government relief work (during the Great Depression) the Government had "to some extent reintroduced the tip drays so that a greater number of men would be employed". This particular tip dray was owned by Mr. Oswald (Jack) Bourke. He used it to deliver dry goods from Sunbury to the Queen Victoria Market in Melbourne several times a week in the 1930's and then (between 1945 and 1962) Mr. Bourke used it on the garbage round in Springvale Victoria for the Springvale Council. The Council owned three drays and the "No. 3" painted on this dray is in recognition of its original number. After the death of Mr. Bourke in 1990, one of Mr. Bourke's sons (Andy) found the dray in a shed and restored it. The sign writing on the back and side panels were added during the restoration. This Tipping Dray is a significant example of a horse drawn vehicle that was used by workers from the early days of white settlement through to the 1940's and even into the early 1960's. It was used in a range of "working class" occupations - road construction, railway construction, carting goods, rubbish collection etc. and would have been found in cities, country towns and on farms.A wooden and metal tipping dray with a box body and four sides. It has two iron and wooden wheels (with 14 spokes), two wooden shafts and a metal tipping mechanism. The back panel folds down to allow loads to be dumped out. It is painted in green and cream with sign writing on one of the sides and on the front and back panels. It features decorative painted lines and designs in burgundy, cream and light blue on most of the wooden parts. The tipping mechanism is on the front of the dray's left side and consists of a metal pin secured with a metal ring, and a lever.Front of dray - "No. 3" Side of dray - "A. & M. BOURKE / Contractors / LONGWARRY" Back of dray - "G.T. ANDREWS / QUEEN VICTORIA MARKET - Stand C23 / Phone DANDENONG 225"flagstaff hill maritime museum and village, warrnambool, shipwreck coast, tipping dray, dray, tip dray, tip cart, vehicles, horse drawn vehicle, springvale council, jack bourke, muck cart, scotch cart, tumbrel, putt, box body, oswald bourke, sunbury, queen victoria market, melbourne, no. 3

A gift of the relatives of donor.Pressed glass comport on stand with lid. Diamond cut design on bowl and lid.domestic items, ornaments / decorative

Presented to the ANZCA president David A Scott during the ANZCA ASM held in Brisbane, May 2017 by the College of Anaesthetists of Ireland. Silver plated, medium size plate with central inscription. Displayed on a wooden stand and presented in a blue wooden box[Presented to the / Australia and New Zealand College of Anaesthetists / on the occasion of their Silver Jubilee / from the / College of Anaesthetists of Ireland / May 2017]college of anaesthetists of ireland, asm, swatkins

Dr. S.A. Mellick was a long standing member of the Faculty of Anaesthetists, Royal Australasian College of Surgeons (FARACS) and gifted this object to the Faculty at the end of his term in 1989. Dr. Mellick was the first Australian to have become President of the International Society for Cardiovascular Surgery. The provenance and date of the salt cellar is verified by the hallmarks at the base of the dish made in 1804 during the reign of Britain's King George III.Sterling silver open cut salt cellar with blue glass bowl insert, boat shaped, featuring four ball feet, beaded borders with pierced and engraved detailing to the sides.[stand] PRESENTED BY S.A. MELLICK / FARACS / JUNE 1989 [hallmark] S E D (indicates maker as S & E Davenport), Image of Lion (indicates sterling silver), I (Indicates made in 1804) Image of kings head (indicates made in London), image of Sovereign's Head (indicates duty mark) Three cursive initials on side of dish are difficult to recognize however may possibly be identified as J E Wopen cut work, salt cellar, sterling silver, s & e davenport, dr sam mellick, faracs, salt cellar

Mrs F Clark donated this Credence Table to the original St Nicholas Seamen's Church, Williamstown, Victoria, operated by the Missions to Seamen organisation. The oak table is decorated with Gothic trefoils and shaped to fit against the Sanctuary wall. Its purpose is to hold the Eucarist plate and chalice for the Holy Communion service of the Anglican Church. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This Chrdence table is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers’ physical, social, and spiritual needs. The organisation originated in Bristol, England, when a Seamen's Mission was formed in 1837. It is also significant for its connection with the church Eucharist service still being performed in the Anglican church as part of its traditional worship.Credence table; traditional design in timber. The solid oak pedestal is shaped like half an octagon with the long side fitting against a flat, vertical surface. The column support has decorative Gothic trefoil cut-away holes. This item is part of the St. Nicholas Seamen's Church Collection. flagstaff hill, warrnambool, religious service, missions to seamen victoria, church furniture, religious worship, pedestal, book rest, book stand, bible rest, church service, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, credence table, pentagonal table, half-table, eucarist, holy communion, anglican church, communion service, tradition, ritual, worship, mrs f clark

The Missal lectern was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria, and was donated by Mrs R J Eward for use in the religious services there. The church was operated by the Williamstown Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This Missal lectern is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers' physical, social, and spiritual needs. It originated in Bristol, England, when a Seamen's Mission was formed in 1837. It is also an example of a community-supported local charity organisation.Solid wooden Missal Lectern on two supporting legs. The top section has an angled back and a small shelf at the front, designed to support a bible. The two legs, with decorative feet, are supported by the decorative wooden bar. There appears to be a rectangular label in the centre front of the small shelf. This lectern is part of the St. Nicholas Seamen's Church Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, church furniture, religious furniture, lectern, preaching equipment, missal lectern, bible support, music stand

This decorative brass table-top Missal stand was presented to the Missions to Seamen in Williamstown in memory of Richard Hodgkiss, after his death on December 14th 1938, by Mrs M A Hodgkiss. Decorative book rests like this one were used to support the Bible during services at the Williamstown Missions to Seamen and is now part of the St. Nicholas Seamen's Church Collection. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel.This table-top Missal stand is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England, when a Seamen's Mission was formed in 1837. It is socially important for its connection to the Williamstown St. Nicholas Seamen's church as it was dedicated to a family member.Table-top Missal stand, also called a Bible rest, book rest or table top stand: brass, rectangular surface with clover motifs holes in each corner. The triangular leg frames are screwed beneath the short sides to create a slope. The lower edge has a vertical, decorative shelf. The inscription on the top surface dedicates the book stand to Richard Hodgkiss, 1938. This book stand is part of the St. Nicholas Seamen's Church Collection. "In Loving Memory of Richard Hodgkiss - passed away 14 12 38. Presented by Mrs M A Hodgkiss."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religious service, missions to seamen victoria, st nicholas seaman’s church williamstown, church furniture, religious worship, bible rest, tabletop lectern, bible reading, preaching accessory, book rest, memorial object, m a hodgkiss, richard hodgkiss, missel table book stand, book stand, bible stand, table-top stand, table-top book rest, table-top missal stand, missal desk

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

This is an image of the Rotunda Hospital in Dublin. Established as the Dublin Lying-In Hospital in 1745, it moved to its current location in 1757 and remains there to this day. This image was first published in Malton's 'A Picturesque and Descriptive view of the City of Dublin' in 1791.A colour engraving of a white building with a red roof. A tower, topped by a dome, rises above the middle of the building. There are four decorative columns on the front of the building, and the entrance to the building is surrounded by a metal fence. There are various figures in the foreground of the image. On the left, there is a well dressed family group consisting of three adults and a child. At left of centre, a figure is riding a horse, which is being preceded by a dog. At centre, in the middle background, one tall and one short figure stand next to the metal fence surrounding the building and are peering inside. At right of centre, a figure is driving a two horse buggy. On the far right, the shadowed figure of a beggar is holding out their cap. There is a smaller building to the left hand side of the featured building, and additional buildings are visible in the right side background. Clouds are visible behind the buildings. Text below image reads 'Lying in Hospital'. The print is mounted and framed in a black wooden frame with gold trim. A display label for this print is attached to the back of the frame. Handwritten inscriptions on the back of the frame of the artwork read 'Rotunda Lying in Hospital/Dublin // 19th British Congress RCOG 1971' and 'Original engraving/James Malton. London,/December 1795.' There is a sticker attached to the bottom right of the back of the frame featuring a printed image of a stork in read and the text 'FRIENDS OF THE ROTUNDA HOSPITAL'. There are two hooks and a wire attached to the back of the frame for hanging.