Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood)

This shawl may have been used for Marjorie Burton or earlier. It has been passed down fcrom the Whiteman family through the Burton family. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who made many of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of a handmade item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A square crocheted silk shawl with a lacy pattern. It is cream coloured and has rounded corners.crochet handcraft shawl burton-marjorie

During the 1930s Depression with money and goods in short supply, many people had to learn to adapt and improvise with whatever they could find. This tin mug is an example of the resourcefulness and creativity that emerges in times of adversity. This item is a good example of the self-reliance of early families before the availability of mass produced domestic items.A tin mug with a tin handle. It is made from a recycled tin container and the handle has been soldered on to the side.tin-mug handmade container tin

Made by a soldier while convalescing after being wounded in WW1.This personal item gives an insight into the human element of World War 1. A very elaborate, handmade photo frame made of small pieces of wood put together with pegs.handcraft ww11 photo-frame

This handmade item represents an important pastime of Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food.Small square cream coloured hand crocheted sugar bowl cover. Word "sugar" is patterned into it. The beaded fringing is blue and white.food-cover handcrafts crochet

This toy monkey was handmade by Hilda Kerr (nee Temple), wife of Dr James Kerr. It was made to raise funds during World War 1.This WW1 item is a reminder of the part played by the families and friends of those who were involved in this conflict.Small black handmade soft toy monkey. Light brown hat, white beard and blue pants.handcrafts soft-toy w.w.1 kerr-hilda

The lil-lil is a type of club which was made and used only in eastern Australia. It was a dangerous weapon when used in battle.The necessary tools and equipment for hunting, fishing and warfare were some of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This lil lil club is an example of a wooden weapon used by the Indigenous people of Eastern Australia.A handmade wooden lil-lil club with a long handle and axehead shaped club at one end. Intricately carved with a turtle on one side of the club head and a wild dog on the other.hunting fishing challenge-stick aboriginal

Inspected by archaeologist, Joanna Freslov on 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt.This is able to withstand repeated impact, and and so was suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were some of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This artefact is an exaample of the stone tools that Aboriginal people used.A dark stone handmade Aboriginal axe head.aboriginal axe-head stone-artefacts tool

Inspected by Joanna Freslov, archaeologist 2.6.2008. Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt. This is able to withstand repeated impact making it suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a stone tool used by the early Indigenous people of Eastern australia.A handmade stone Aboriginal axe head.axe-head aboriginal tool stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008. -unusual axe head. Ground-edge tools are made from fracture-resistant stone, such as basalt. This axe would able to withstand repeated impact. The stone would have been dug or found and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. Ground-edge tools could be held in the hand, or fashioned to be fixed onto a haft or handle.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This stone axe head is an example of a ground-edge tool used by the early Indigenous people in Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool aboriginal stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008 Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and so is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of an early axe head used by the Indigenous people of East Gippsland.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joanna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basaltwhich is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joonna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head. Finger grips are clear.axehead aboriginal tool stone-artefact

Handmade by Julia Eaton ( nee Thomas), daughter of George and Granny Thomas, respected Aboriginal couple of Newmerella.This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Square shaped calico cushion cover. It is hand-embroidered with ribbon embroidered leaves and flowers. The edging is flounced. Flowers are pink with yellow stamens and green stems. handcraft needlework thomas-julia

Item in a collection relating to Wes Bertuch, refer Cat No 1664.2 Jacket - bespoke handmade, in black cotton fabric exterior and white silk fabric lining. With collar, long sleeves, cuffs with black plastic buttons, inset pockets and elasticised area on waist band. Front zipper closure. Handstitched decoration on front, top of sleeves and back of jacket. Front - left side, yellow cotton? Vietnamese writing, Right side - yellow, orange, white and brown cotton - face of a tiger. Top of sleeves - left and right - orange and white cotton - dragons. Back of jacket - blue, orange, green and yellow map of Vietnam, Laos and Cambodia.On Jacket back - handstitched in yellow cotton "WHEN I DIE I'LL GO TO HEAVEN/ BECAUSE/ I'VE SPENT MY TIME IN HELL/ VIET & NAM/ 68 69". On and beside map - hand stitched in white cotton "LOVIS/ HANOI/ THAILAND HUE/ DA-NANG/ QLV-NI-ION/ BANGKOK NHA- TRANG/CAM-RANH/PHAN THIET/ BIEN HOA/ . On map - yellow cotton "CAMBODIA/SAIGON"souvenir, vietnam, clothing

This album contains photographs of a family, (the Horns of ‘Wildwood’, Warrnambool) and other photographs of Warrnambool – the foreshore, the Soldiers’ Memorial, the Breakwater, the Hopkins River, Liebig and Timor Streets etc. It has been made by a member of the Horn family and given as a Christmas present to other members of the family. Charles James Horn came to Australia in 1881and was a tutor to the Barber family of ‘Staywood Park’, Wangoom. He and his wife Emma then worked a property at Cudgee before settling in Warrnambool at ‘Wildwood’ in North Warrnambool. One of their sons, Charles Bernard Horn married Margaret Cairns in 1916 but died in 1927. Another son, Leslie, was killed in World War One. This little album is of great interest because it contains photographs of the Horn family and other photographs of views in Warrnambool. It is therefore of considerable historical interest and will be very useful to researchers. As it is a handmade item it is also of interest because it is an example of the sort of homemade items made as presents at a time (the late 1920s) when finances for something more expensive may not have been available. These are two items which are believed to be linked. One is an envelope marked ‘C.J. Horn, Wildwood, Warrnambool’ and the other is a blue-covered homemade album of photographs bound with red wool. The front cover has ‘Warrnambool’ written in red ink and the back of the front cover is stamped ‘Ralph Barnes, Chemist, Warrnambool’. There are 22 sepia-coloured photographs of a family (the Horns) and other views of Warrnambool. All have a label on the back. The back page of the cover has an advertisement for ‘Seltona’ self-toning paper.‘Warrnambool’ ‘7 sheets glossy Seltona’ collodion self-toning paper containing gold, Sole Manufacturers, Wellington and Ward, Elstree, Herts.’ ‘From us both to you both, Wishing you a Happy Christmas and a Glad New Year’. warrnambool, horn family, charles james horn, staywood park, wildwood warrnambool

Nails such as these were used for building purposes, probably in the construction of house and shed roofs. The jar has no significance, being a discarded household item used to contain the nails. The nails have no known local provenance but are of interest as they date back over 100 years and are retained to show the type of nails used in the past.This is a glass jar with a ridged base and a metal screw top lid. There is etched printing on one side of the jar. The jar contains many old metal nails, possibly handmade. They are mostly rectangular in shape with flattened heads. There is also at least one metal screw in the jar‘AGEE Mason Jar’antiquarian building materials, warrnambool, history of warrnambool

This handmade woman’s nightdress comes from the Kinnear family of Allandale, Allansford. In the early 1840s William and John Allan took up a large tract of land to the east of the Hopkins River and in the late 1840s William Allan took over the Allandale section of the run and John Allan took the Tooram section. In 1906 the Kinnear family acquired a portion of Allandale which included the homestead. The nightdress came from the estates of the donor’s great aunts. This item is retained as an example of an early 20th century woman’s nightdress and it has the provenance of coming from the Kinnear family of Allandale Allansford. This is a white cotton nightdress with an opening to the waist which is enclosed with two white buttons. There is a frill of lace on one side of the opening. The white collar also has a large white frill of lace. The long sleeves are inset and have a band of lace at the wrists. There are some stains on the dress. vintage clothing, kinnear family, allansford, history of warrnambool

This kettle is a common household item and would have been used on the top of a wood stove. Copper was commonly used as it is an excellent conductor of heat. Elements of its construction would point to it being manufactured by hand. It could have originated from local plumber Alex Anderson who operated from Fairy St in the period 1920-1940. This is a common household item from the early 20th century when most household would have relied on wood stoves for cooking. As a handmade item it also has significance as an example of skills from earlier times.Circular copper kettle with lid with copper handle and handle with black bakelite handle which is eight ridges .The handle is rivetted to the body of the kettle.The base is rolled over the body of the kettle around the edge.The spout has a join along the top.warrnambool, copper kettle, alex anderson

This felt rat is significant because it is a unique, handmade mascot carried by an Australian soldier at Tobruk. The soldiers were called 'the rats of Tobruk'. He gave it to an ambulance driver, a local Frankston woman, who treasured it.This is a handstitched felt toy rat. It is made from light brown and pale green felt with pink embroidery thread blanket stitching. The facial features are made from felt. It has a pale green grograine ribbon neck tie. The stuffing is very firm.This item is handmade with no inscription or markings.1942, england, trench art, australian soldier, rat of tobruck, felt toy, handstitched, blanket stitch, ambulance driver, j pickles, f a n y

Johann Elias Bleckmann (1784-1856) founded a steel goods shop in Ronsdorf near Dusseldorf Germany. After completing a business education in his father's business, his son Johann Heinrich August Bleckmann (1826-1891) gained further experience through travel in North and South America. When his father died, he took over the steel goods store and moved it to Solingen. He bought a hammer mill in Mürzzuschlag Styria (Austria) in 1862 and converted it into a modern crucible casting steel smelter. His "Phoenix Steel", which he produced himself, achieved worldwide renown. He then went on to establish a file and tool factory and later founded a steel and plate rolling mill. Apart from cutlery blades, the company's self-produced steel was also processed into tools, scythes, rifle parts, etc. His sons Eugen and Walter continued after his death in 1891 at the Phoenix steelworks. However, by the end of the First World War, the two brothers fell into economic difficulties as a result of eliminating a large part of their foreign trade. In 1921, the company was converted into a public limited company and merged three years later with the company Schoeller & Stahlwerke. Made by Bleckmanns a significant Austrian manufacture of cutlery and tools in a recognized area of Germany famous for the production of steel items. The item is giving a snapshot of early colonial and European trades persons tools and gives an interesting insight into the development and progression of European tool and steel development and innervation prior to the First World War.Drop hand forged steel wrench with unusual locking mechanism to size jaw opening made by J E Bleckmann, Solingen Germany.Machine stamped on handle of wrench LOTUS L R GEBRAUCHS under has MUNSTER, J E BLECKMANN, SOLINGEN Germany. [ Translated: LR Gebrauchs= use,usage, or custom application] [Lotos] Translated: Lotus ie flower] [Solingen =town in Rhine valley]manufactures, tools, engineering, blacksmith, workshop tool, dropforged, handmade, wrench, adjustable wrench, phoenix steel, j e bleckmann, solingen, murzzuschlag, steel mill, cutlery, steel foundery

This patchwork bedspread or quilt is a modern creation along the lines of the traditional 1800s handmade patchwork quilting craft. It is made from reproduction fabric and quilt designs and represents the bed linen typical of a late 19th-century bedroom. Years ago, patchwork was a form of recycling, where leftover or previously used pieces of fabric were used to create other useful item such as quilts, rugs, cushion covers and jackets. Special projects were sometimes made with fabrics representing special memories, such as pieces from baby clothes, wedding gowns, and school uniforms. The maker would use a cardboard template shaped like a hexagon, place it onto the fabric and trace around it. Often the cardboard was cut from a box such as a cereal box. Women would gather to work on their patchwork while enjoying their social time together. As in the case of this quilt, members of the Embroiderers Guild in Warrnambool worked on the project, designing and quilting as a group to achieve their aim, of presenting the quilt to the recently opened Flagstaff Hill Maritime Museum. The quilt was perfectly suited to dress the bed in the Lighthouse Keeper's Cottage. Provision was made for the quilt to be hung for display, with the addition of loops along one edge.This carefully created and designed, recently made patchwork bedspread typifies bedding and handcraft of the late 19th century. The bedspread was the first community project of the South Western Branch of the Embroiderers' Guild of Victoria, and presented as an addition to the Lighthouse Keeper's Cottage tat Flagstaff Hill. Patchwork bedspread or quilt, double bed size, made from hundreds of hexagonal-shaped fabric of various colours and patterns, carefully stitched onto a white background. One edge of the quilt has loops dispersed at regular intervals. This would allow the quit to be used as a wall hanging. It was handmade by the South Western Branch of The Embroiders Guild, Victoria, and presented to Flagstaff Hill Maritime Museum and Village in 1976. An inscription is embroidered in blue on a patch of the quilt. "Made and Presented by The Embroiderers Guild, Victoria (S.W. Branch) 1976"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bedspread, patchwork quilt, quilt, embroiderers guild, bedding, bed linen, 1800's handcraft, quilting, south west branch, warrnambool embroiders guild, recycled fabric, 19th century, household textiles

This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection

This decorative bowl is typical of items used in a Victorian household for decorative purposes or to serve items such as fruit. It has been lovingly handmade and restored carefully to match the original.This alabaster bowl is representative of handmade decorative and useful items of the Victorian era.Bowl; round, hand-crafted, shallow oval alabaster bowl on a short pedestal with carved handles on opposing sides. Light brown with dark grey/black and red flecks. Stone has a polished surface, leaves outline (acanthus plant) etched inside the bowl. The pedestal has been crafted separately and expertly attached to the base. Several careful repairs were previously made to preserve the bowl.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bowl, alabaster, decorative item, fruit bowl, handmade bowl

The handmade earthenware jar was one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Loch Ard. The jar could have been from the ship's cargo or personal effects. There are other jars in our collection that were recovered from the Loch Ard. The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. 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. It is historically significant for representing aspects of Victoria’s shipping history. Container, round brown earthenware jar with a wide mouth, thick lip, a wide neck that tapers slightly inwards towards the shoulder, and a body that tapers slightly inward towards the base. The glazed surface is rough. The variegated colours of the clay also has small dark speckles. There are several chips and dents on the jar. The inscription is stamped into the lower edge. Made by Bailey & Co., England. Recovered from the wreck of the Loch Ard.Inscription “Bailey [&] Co / ENGLAND” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, white star line, victorian heritage register, sailing ship loch ard, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, stoneware jar, domestic container, kitchenware, kitchen storage, bailey & co england, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, 1878, sailing ship, earthenware, stoneware, domestic jar

Joseph Gleave & Sons was working as a plane maker in Manchester from 1832 and was at Oldham Street from 1854 to 1868 and (as Joseph Gleave & Son) from 1868 to 1913. The company made complex wood planes of which the subject item is an early example. The company sold tools from other makers as well and was based in Oldham Street Manchester. Since that time the company has adapted and mutated and is still buying and selling tools and industrial supplies to this day. However the company stopped making complex wood planes in 1926. A vintage tool made by a known maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce an ornamental finish to timber. The tool was used before routers and spindle moulders came into general use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims, etc. or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish.A significant tool from the late 19th to early 20th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves handmade shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any decorative timber item.Complex Moulding Plane, Torus Bead. Stamped J. Gleave (Maker), No 7 & T. Moody (owner)flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, josphe, joseph gleave & sons, complex plane makers, carpenders tools, woodworking tool

The two embroidered pillow shams were made by Betty Stones's mother Daisy (nee Dale) Welsh. A number of crocheted and embroidered articles were donated to Flagstaff Hill Museum by Betty Stone who advised that they cover a period of three generations from Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen, both Sarah Lees (born 1844) and her daughter, Ann (1865) these women crocheted a wide variety of articles for use in their homes. Today we have a few surviving examples of their skill that has survived the years.This item and others in the collection donated by Betty Stone are significant for their association with the early Warrnambool pioneering families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, and published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework and handmade domestic items.A pair of white pillow shams, rectangular in shape with a shallow scalloped crochet edge. The embroidered central design includes a bird motif. Made by Daisy Walsh (nee Dale). Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, pillow shams, bed linen, pillow covers, daisy dale, daisy welsh, betty stone's mother

This apron was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.The apron is an example of late 19th century ladies' clothing for use in domestic service or hospitality.Apron, ladies size, cotton, machine made. Bodice has hand made Broderie Anglais lace trim and neck ties, skirt has gathered waist and ties, three pin ticks around hemline. Would have been worn for 'best' wear. C. 1900flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, apron late 19th century, broderie anglaise, handmade lace, apron, domestic clothing, domestic work, domestic service

This camisole was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.Camisole, machine sewn, cotton with lace insert panels and lace trim around armholes and neck. Drawstring waist tie and button closure on back - 2 buttons. Inscription, handwritten in pencil on back opening "19428 - - - " c. 1900Handwritten in pencil "19428 - - - " flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, ladies undergarment, camisole c 1900, handmade lingerie

Historic context for this item is currently unavailable. The item at this time cannot be associated with an historical event, person or place and its provenance is unable to be determined at this time. The item is assessed as a Flagstaff Hill Collection asset as a handmade bottle made in the 19th century.Bottle, large, English Ale, dark green glass, cork and wire seal (missing), handmade, crude turn marks on neck, some encrustation. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bottle, handmade bottle, dark green glass