These two framed model ship plans are from more than 650 produced for the LOCH ARD Centenary (1878-1978) Commemoration Committee. These plans were originally researched, designed and distributed in 1977 to assist entrants in the Committee’s Ship Model Competition. The competition was arranged as a means of creating public interest and awareness for the 100th anniversary of the tragic LOCH ARD shipwreck on Victoria’s south west coast in 1878. The main subject specified for modelling was “The Loch Ard ― Iron Wool Clipper 1873”. “The plans were drawn by Mr P Webb to the order of the Committee through Mr P Williams, organizer of the competition. The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail delivered on the plans is the inclusion of the following useful information about the original vessel: “Tonnage….1,693 G.R.T., 1,624 N.R.T. Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.)”. The quality of research and drafting makes these framed copies of considerable interpretive value to related items from the LOCH ARD shipwreck on display at Flagstaff Hill. They were originally mass produced but are now out of print. Flagstaff Hill retains other (unframed) copies in storage. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. 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. Two framed model ship plans of the LOCH ARD. These are detailed and researched plans from the original vessel, drawn to scale and printed on good quality paper, and framed behind glass to be hung on display. One slightly smaller plan “Lines, Decks and Details” portrays the hull lines as a body plan (straight on at the bow), a sheer plan (full side view), and a half breadth plan (a top-down view of deck to keel), as well as two top-down views of the upper decks and main deck with fittings and details of specific fixtures. One slightly larger “Sail and Rigging Plan” presents a side on, above deck view of masts and shrouds and a front on, above deck view showing “Elevation of Mainmast Looking Aft”. Each plan bears the draftsman’s initials and date of completion (“P.A.W. 10/77”). The larger plan also includes a boxed label attributing the project to the “LOCH ARD CENTENARY Commemoration Committee Ship Model Competition.”Smaller plan: heading “LOCH ARD: LINES, DECKS and DETAILS”; initials “P.A.W. 10/77”. Larger plan: heading “LOCH ARD: SAIL and RIGGING PLAN”; initials “P.A.W. 10/77”; label “LOCH ARD CENTENARY Commemorative Committee Ship Model Competition”. 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, ship model plans, loch ard model plans, sailing ship, loch ard centenary

This photograph frame with its decorative dragon and bamboo shoots was typical of the early 1900's when photography was in the hands of the professional artist. It was in a period before the "instant" photo and required a dark room and processing liquids for development. It was therefor in a time when photographs were "shot" only at important events, be they family or public occasions. Good quality picture frames such as this item were a part of the "reverence" of photographs per se.This photograph frame holds and protects, part of a very significant occasion, the 90th birthday photograph of the matriarch of one of the founding families within the Kiewa Valley. The frame therefore has historical significance.This silver painted aluminium photograph frame has a glass front pane within a formed inlay and a formed inlay at the back. The anchor points, at the back, for securing toggles are in place but not the toggles. These toggles were installed to allow the photograph to be securely positioned within the correct alignment of the the frame.The metal front plate has seven rivets holding the cloth covered cardboard back frame to the metal front cover. The front part of the frame has sculptured dragon and wild bamboo shoots and is boarded with a plain border pattern. The back panel to secure the photo and hold the stabiliser flap is missing. See also KVHS 0092 for a more complete frame.photograph frame early 1900's, the roper family

This men's grooming set of personal care equipment and toiletries is an example of items packaged in attractive cases and sold as gifts in Australian chemist outlets and department stores in the 1920s to 1940s. This set was originally packaged in a leather-covered, lined and fitted case, with a comb, hair brush, and razor included as well. as the items shown here. The razor, once included with the set, had the inscription "T.R. Cadman and Sons, Sheffield England". The family business began with Luke Cadman in 1748. Thomas Radley Cadmen (1833 - 1917) took over the business in 1871, by which time it was operating in Sheffield. The business became incorporated as T.R. Cadman & Sons in 1924 but shortly afterwards the straight razors manufactured by them were stamped T.R. Cadman & Sons Ltd. The company specialised in pocket knives and razors from 1933 and supplied the British Royal Navy with razors in WWII. Over 80 per cent of sales were for the overseas market including Australia. Some of their razors were sold in stores in Victoria. The business traded in 1965. This grooming set was donated for exhibit in Flagstaff Hill Maritime Museum and Village's exhibit of the vessel 'Reginald M', a two-masted coastal trading ketch built in Port Adelaide in 1922. These items are examples of personal objects sold in Victoria in the 1920s as gifts for men, cased or packaged for special occasions and sold in retail stores. The items are associated with the historic coastal trading ketch 'Reginald M', listed on the Australian Register of Historic Vessels; and active from 1922 until 1975. The items were displayed in the Master's Quarters of the Reginald M exhibit at Flagstaff Hill Maritime Museum and Village until 2016 when the ship was decommissioned from Flagstaff Hill's fleet.Men's grooming set; metal soap container with star decoration, oval soap cake, oval hand mirror in a black frame ten-sided clear glass cologne bottle with silver metal lid, yellow bristle clothes brush with brown wooden hand grip, yellow bristle shaving brush with black base and white body, and two button hooks with white handles; the larger one has floral motifs. Inscriptions were on the razor originally included in the grooming set.Soap container once had star motifs.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, grooming set, men's grooming set, personal grooming, toiletry set, personal care, soap box, soap container, cologne bottle, clothes brush, shaving brush, button hook, hand mirror, personal efects, toiletries, t.r. cadman & sons, reginald m, soap dish

In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. Painted from an original black & white photograph, Catalogue Reg No. 1347 recorded as "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". (Difference in painting date and photograph date indicates years as shown are approximate only). Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

ANTHONY NEWMAN No 3243 enlisted in the AIF on 28.10.1914 age 22 years 5 months in the 1st reinforcements 2nd FAB AIF as a Gunner. Embarked for Egypt 22.12.1914, embarked for Gallipoli 30.4.1915, transferred to 3rd FAB 6.9.1915. Hospitalised with Jaundice serious enough to be transferred to Malta then England, returned to unit 10.3.1916. Transferred to 12th FAB 26.3.1916 then to 4th Div AHQ 31.3.1916. Embarked for France 2.6.1916, discharged from the AIF 10.5.1919 medically unfit.Timber frame, mid brown with glass front, dark green mount. Discharge Certificate for ANTHONY NEWMAN printed in black & red colour on cream coloured paper, features the Royal coat of arms mounted on 2 columns all in red ink. Illustrated in black is Britannia holding a Union Jack flag & facing 2 soldiers who are presenting arms. At the bottom is a scroll with the recipients name written in black ink. Block print label mounted within dark green mount, centre lower edge. Within the red scroll border: “Anthony Newman Australian Imperial Force Served with honour & was disabled in the Great War. Honourably discharged on 10.5.1919 George R I” Label centre lower edge: ANTHONY NEWMAN Regt No 3243 2nd FAB Enlisted 23.10.194 Discharged 10.5.1919 medically unfit. Donated by R Fair. Stamped at the bottom: V22526 documents - certificates, newman, disabled

Original sepia photograph mounted on thick buff coloured cardboard. The photograph is mounted in a glass fronted frame. The formal photograph is of the Australian Army 2/9th Field Ambulance Unit at Bonegilla and is dated January 1941. Sergeant R. K. Churches, service number VX34599, is in the front row, reclining and immediately to the right of centre. (refer item number 00320) note: digital format copy only available, this original photograph has been donated to the Australian War Memorial, Canberra - 22nd November, 2014

Framed certificate from Australasian Federal Referendum, paper on card under glass and framed with brown timber frame, shades of blue, gold and brown with black lettering, photographs of six state Premiers underneath a coat of arms and showing Victoria's Parliament House. Written on address: 'This is to certify that the question of an Australasian Federal Constitution was submitted to the electors of Victoria on the 27th day of July 1899 and that out of a poll of 163,783 votes, 152,653 were cast in favour of such Federal Australasian Constitution and further, that Alexander M. Dempster voted at the said election'.event, official, civic

MEDIUM: Photographic print. DESCRIPTION: A photograph of abstract architecture. Black outer frame with glass front panel and white board inner frame. An abstract collection of building faces meeting towards a left off centre vertical line collision point. This picture is a meeting of mirrors, how many remains a mystery. Where one mirror or building starts and another ends, to the viewers eye is met with some uncertainty. Following lines, the clearest meeting of mirrors is where the building on the left appears to be the same and collides with a variety of other buildings coming horizontally in a distinct vertical line to the top of the image. The bulidings on the right have somehow through the skill of the photographer captured a bermuda triangle of walls. The mirroring angles of the walls being from either several different buildings, or from several different mirrors. This creates a strange collecetion of imagery, the viewer unable to make clear distinctions of where something starts or ends or from where it is coming from. The tonal shades and shadows created also play a role in creating an interesting collage of shapes and lines. This piece essentially speaks of lines, angles, geometric shapes, meeting points, shadow and light. Signed and dated on white board inner frame, directly under left corner of image.photograph, st, considine, converge, collins

William Melrose volunteered as an oarsman in the Portland Lifeboat on the second and successfil attempt at rescue when he rowed manfully through the breakers. He was awarded a Silver Medal and [pound mark]12.10.0.Paper certificate mounted under glass and framed. Frame is carved wood, stained brown. Top corner is a carved scotch thistle, bottom corner has carved anchors. Centre of each side has a cavity for the medals. At the bottom centre is the Admella Relief and Reward Fund Draft certificate of reward to William Melrose Seaman 'Lady Bird' Melbourne Nov 12th 1859. Photograph of William Melrose in uniform with his two medals pinned to his jacket. A coat of arms is carved at the top centre with the motto "PER-MARE-PER-TERRAS".Front: Admella Relief and Reward Fund Draft certificate of reward to William Melrose Seaman 'Lady Bird' Melbourne Nov 12th 1859. Services rendered - volunteered as an oarsman in the Portland Lifeboat on the second and successfil attempt at rescue when he rowed manfully through the breakers. He was awarded a Silver Medal and [pound mark]12.10.0. Back: (no inscriptions)admella, shipwreck, portland lifeboat, rescue, reward

Louise Blake purchased this for our collection because of the connection of this area with the filming location.Framed and under glass reproduction of the original poster of the film 'The Story of the Kelly Gang' (by biograph) at Anderson's Olympia Theatre cnr Cambell & Elizabeth Streets, opposite Central Railway Station (Sydney) commencing Saturday, Nov 26. Specially taken by Messrs Johnson & Gibson, Melbourne. An entirely new and exquisite pictorial representation of the Thrilling Story of the Kelleys'. Seven photos: captioned 1. Ned Kelly, 2. Glenrowan Hotel the Kelly's at bay, 3. The notorious Kelly Gang, 4. Police locked up at Jerilderie at their own , 5. Don Kelly & Steve Hart shoot each other, 6. The bank robbery at Euroa and 7. Dan Kelly shoots Sherrit the spy. Popular prices. JJ Miller Print Co off Post Office Place, Melbourne 21 11 10.illustrations, reproductions

Gold frame, written in frame: 'Bronze Medal, presented to wine maker J. Kahland, from the Estate of Freida Kahland, late of King Street, Bendigo, these medallions were presented to the Society by the executor Mr. A. Lienhop on 22 May 1989. The Kahland cellars situated in King Street, Bendigo were noted among the cleanest, driest and well kept cellars in the district and the wines were equally famous winning many local, national and overseas awards' on brass plaque on glass of frame: Donated by the German Heritage Society Bendigo In. 2013. Frame contains large 6.5 cm medal, and photo of observe of medal.bendigo, industry, kahland vignerons

Framed artists proof of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Framed under Truguard UV glass. Materials: Paper, Ink, Graphite, Paper, Cardboard, Glass, Metaltennis

Framed collection consisting of a large number of World War 1 era military badges and insignia from Australia, New Zealand, Britain and other countries. The collection features a set of three medals as the centrepiece which were awarded to an Australian serviceman, Acting Warrant Officer Alwin Stevens Nicholas, service number 4752 of the 3rd Australian General Hospital, Australian Medical Corp, A.I.F. The metal badges and insignia are mounted on a black felt cloth background over a wooden backing and housed in a wooden frame. There is no glass front to the frame. for more details about A S Nicholas refer: < https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=7998061 >none

Stevenson screens were first introduced in Australia in the 1880s and were widely installed by 1910. The screens have been used to shelter and protect thermometers and other meteorological instruments from rain and direct heat while the holes and double-louvre walls allowed air to flow around them. Sometimes other meteorological instruments were included in the weather stations, so there were different Stevenson Screen sizes. This authentic, original Stevenson screen was previously owned by the Australian Bureau of Meteorology and was used for many years for weather readings at the Cape Otway Light Station in southwest Victoria. The Lighthouse Keepers recorded the readings for minimum and maximum temperatures at 9 a.m. every day from January 1865 until April 1994. The equipment was sheltered in a Stevenson Screen from 1902 until April 15 1994, when the mercury thermometer was replaced by a platinum resistance probe within an Automatic Weather Station (AWS). This Stevenson screen is one of the two screens that then became redundant. The other Stevenson screen was kept to display to visitors. Lightkeepers were no longer required at the Cape Otway Light station either, due to the automated system. The meteorological instruments donated with the screen were used for measuring temperature and humidity. They are mounted on a metal bracket that fits across the screw holes on the screen’s internal frame. The glass-covered Relative Humidity (RH) sensor was made by the renowned precision instrument maker, Rotronic AG of Switzerland, which was founded in 1965. The firm made its first electronic temperature and humidity instrument in 1967. Meteorological records have been collected in Australia from the 1800s. The records were collated, published and used as a basis for weather forecasts. Many sectors, such as maritime and agriculture industries, have relied on these figures for making important decisions. The quality and placement of the meteorological instruments used to measure temperature and humidity are of utmost importance for accuracy. In early colonial times, there were no national standards for meteorological instruments that would allow for accurate figures and comparisons. Once the Bureau of Meteorology was established (around 1908 to 1910) the department installed Stevenson screens throughout Australia, many at lighthouses and light stations, and the measuring instruments were standardised. The Stevenson Screen was named after its inventor, Scottish Civil Engineer Thomas Stevenson (1818-1887) who was also the father of Robert Louis Stevenson, author. Stevenson developed the small thermometer screen around 1867. It had double-louvred walls around the sides and a top of two asbestos sheets with an air space between them and was thickly painted with a white coating that reflected the sun’s rays. This design was modified in 1884 by Edward Mawley of the Royal Meteorological Society. Standards were set for the locations of the screens and instruments, including their distance above ground level and the direction the door faced.Stevenson screens played a significant part in providing a standardised shelter for all meteorological instruments used by the Australian Bureau of Meteorology from about 1910 until 1994. The readings from the instruments gave the meteorological statistics on which weather forecasts throughout Australia were based. This Stevenson screen was used locally at Cape Otway, along the Great Ocean Road in southwest Victoria, so contributed towards our local forecasts and weather warnings.Stevenson screen, original, from the Australian Bureau of Meteorology’s weather station at the Cape Otway Lighthouse. The screen is a white wooden cupboard with a slanted cover raised above the top. The top has ten drilled ventilation holes, and the sides and door are made of downward-slanting double louvres. Two brass hinges join the door to the lower edge of the screen and a metal fitting at the top edge allows for a padlock closure. The screen is supported on four short legs, each with a hole drilled from side to side for fitting to a frame. Inside the screen are two wooden frames fitted with hooks and screws. The floor has three boards; one across the back and one across the front at the same level, and a board wider than the space between these boards is fitted higher, overlapping them slightly. Inside the screen, a pair of electronic instruments with short electric cables is mounted on a metal bracket with drilled holes in it. One of the instruments is a Relative Humidity (RH) probe. It is 26 cm long and is a glass tube with a filter on one end and an electrical connection on the other. It has inscriptions on its label, showing that was made by Rotronic AG, Switzerland. The other instrument is a Resistance Temperature Device (RTD) thermometer. It is 22.5 cm long and has a narrow metal probe joined to a hexagonal metal fitting. A brass plate on the front of the screen has impressed inscriptions. The screen is Serial Number 01/C0032, Catalogue Number 235862.Stamped into brass plate "CAT. NO. / 253862 / SERIAL NO. 01/C0032" On instrument’s electrical fitting; “CD2” [within oval ‘+’ above S] “Serie693 op65 / 220/380V~16A” On instrument’s glass; “rotronic ag” “SWISS MADE” “CE / CH-8303 / Bassersdorf” Symbol for [BARCODE] “ART NO MP 101A_T4-W4W” “POWER 4.8.30VDC“ “OP. RANGE: 0-100%RH/-40+60° C” “OUT H 0-100% 0-1V” “OUT T -40+60°C -0.4..+0.6V” “SERIE NO 19522 009”flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cotton region shelter, instrument shelter, thermometer shelter, thermoscreen, thermometer screen, measuring instruments, meteorological instrument, weather recording, weather station, lighthouse equipment, light station equipment, stevenson screen, marine instruments, mercury thermometer, platinum resistance probe, aws, automatic weather station, rotronic ag, swiss made, meteorological device, weather forecast, weather prediction, weather records, meteorological forecast, meteorological record, australian bureau of meteorology, bureau of meteorology, bureau, bom, relative humidity, rh, relative humidity probe, resistance temperature device, rtd, thermometer, temperature, humidity, cape otway, cape otway lighthouse, cape otway light station, rotronic, switzerland, swiss instrument, thomas stevenson, double-louvered walls, edward mawley, royal meteorological society, 01/c0032, serial number, cat. no. 235862, serial no. 01/c00323

This pair of navigational lamps or lights was fitted to the vessel S.S. Rowitta when it was renovated to become a display passenger ferry at Flagstaff Hill Maritime Village from 1976-2015. Navigation lamps are used to indicate a vessel’s position and direction of travel to other vessels nearby. This system of coloured lamps is standardised throughout the world for all marine vessels, red is for port and green for starboard, (red is for the boats right hand side). These navigation lamps were not the original fittings for this vessel but had come from a similar vessel of the same era of the early 1900’s. The history of the lamp fittings at this time is unknown. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. These lamps are an historical example of navigational equipment used in the early 20th century, adhering to a navigational standard that is worldwide, and a design similar to what is still being used today. They were used on the display vessel at Flagstaff Hill Maritime Village as an aid to maritime education. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Two side navigation ship's lamps, quarter circle shaped metal boxes with glass window and removable lid. The lid attaches to the box using four brackets, wingnuts and screws that swing down out of the way. The window of double-thickness glass is inserted on the curved side of the box and attached by screws around the frame. The inner glass panel is coloured according to the lamp’s use; port is red and starboard green. The port lamp has a round hole cut into each of the two straight sides and an electrical fitting inside. The starboard lamp also has a hole in each straight side (one with a threaded fitting). Its lid has an additional cross bar on top that has a circular space in the centre, nuts and screws fit through holes in the ends and a folding handle is attached across the centre space. The lamps were once fitted onto the vessel Rowitta. The starboard lamp has an inscription stamped into the metal. Impressed on 3689.2; “STARBOARD PATT 8025” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, navigation lamp, navigation light, navigation equipment, starboard patt 8025, ship’s fitting, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, vessel, display rowitta, display passenger ferry, sorrento

Large shield in wooden frame and under glass. The shield itself comprise two parts. On the larger, covered in blue material, the pictures of Abraham Harkness and nine other councillors. To the right we have J.H Abbott, A.S. Bailes, D.B. Lazarus, H.M. Marks, H.S. McGowan, W. Honeybone, S. Ryan, J.P. Carolin, J.R. Hoskins. The picture are oval in shape in a silver frame. Mayor Harkness is at the top. The picture are on a blue material and around a wodden shield, this shield possibly silver has the emblem of the City of Bendigo and the inscription: presented to Councillor Abraham Harkness by the Mayor, Councillors and citizens to mark their appreciation of the satisfactory manner in which he filled the high and honourable position of mayor of the City of Bendigo for the years 1897/8 and 1898/9. S.H. McGowan (Mayor) W. Honeybone (Town Clerk). Town Hall, Bendigo December 20, 1899. F.N. Prescott, Bendigo.bendigo, history, mayor harkness, from dudley house. stored at bendigo art gallery from 2000. returned to bhs 03/02/2023

Framed collage with copies of an 1877 photograph and 1877 newspaper article. Image depicts a group of 10 people seated outdoors around a small table; sitters include 'Lady Lindsay and Sir Coutts' according to handwritten list of names along left edge of photo. Photo dated Sept. 1877. Caption for article states: 'SATURDAY, SEPTEMBER 29, 1877'. The article is a social pages report regarding a lawn tennis party held by Lady Lindsay and Sir Coutts on the previous Monday, (24th September 1877). Framed under TruGuard UV glass. 'TruGuard' sticker on backing, and number '42' is both written and on an adhesive label. Materials: Ink, Paper, Wood, Cardboard, Metal, Glasstennis

Original drawing by Mullin for cartoon entitled 'THEY NEVER COME BACK', for publication in New York World Telegram. Large central naturalistic portrait of Gonzales, surrounded by caricatured vignettes referencing Gonzales comback in 1964 after semi-retirement. Glass backing on frame reveals handwritten inscr's.: 'MULLIN FOR TUES', 'VIA WESTERN UNION MESSENGER/CHARGE ACC'T WILLARD MULLIN/27 COLONIAL DRIVE PLANDOME L.I./(516) MA 7-2555/ PLEASE RUSH/ TO / ENGRAVING ROOM / 5TH FLOOR / WORLD TELEGRAM / 125 BARCLAY ST. / N.Y.C.' and ' PLEASE/DO NOT/CRUSH'. Frame glazed with UV glass. Materials: Paper, Graphite, Glass, Cardboard, Glue, Wood, Metal, Felt, Foamboardtennis

Framed black and white photograph of the interchange between cable and horse trams at Moreland Road and Sydney Road Brunswick for the Coburg horse tram line. Has two cable tram sets in the background. Horse Tram No. 4, with the now Moreland Hotel in the background. Date around 1900, prior to the introduction of bogie trailers. Frame - brown varnished timber frame, glazed with clear glass, white card backing with brown tape on rear, brass wire hanging wire with small eye hooks the side. Framed by Conroy-Moffatt Pty Ltd of 316 Kings St Melbourne. See Reg Item 2312i3 and 6353 for another similar view which provides a date of 1890.trams, tramways, cable trams, coburg, brunswick, moreland rd, horse trams, tram 4

MEDIUM: Digital print. DESCRIPTION: A fractal exploration on 192 gsm archival matt. Image ranges from yellow, orange, and red to darker tones. Gold outer frame with a glass front. The Mandalas geometric designs are symbolic of the universe and used in Hinduism and Buddhism as an aid to meditation. The creative possibilities that exist in these sacred circles, are often based on a step-and-repeat principle, centre, and symmetry. Here we see this put into practise. The mandala has an iris quality about it with 16 pillars pulling centrally to what looks like a pupil, the centre of the mandala. This then has more points around it and then more once again. This fractal approach gives the work a textural depth. The use of blurring and merging in a kaleidoscopic fashion creates movement, the circular flow repetitive and calming. The use of reds throughout mandata art represent the glowing sun and of fire, red generally taken to be the color of life, love, joy and rage, the polar values of the color. Orange the colour of cheerfulness and gaiety, a colour mixed from red and yellow, it stands for kind-heartedness and warm-heartedness. Signed, titled, dated and editioned on image across bottom.de, print, digital, dear, amber, bead, mandala, fractal, expolration

Framed set of photographs of Melbourne W1 421decorated as an "illuminated" tramcar for the visit of the Duke and Duchess of York to Victoria April 21 to May 12, 1927 and the opening of Canberra on May 9, 1927. Tram identified in the 4th edition of Destination City. Note Tasmania is missing from the map on the side of the tram. Two photographs of the tram, a three quarter front on view and a side on view have been framed within a black wooden frame, protected by a glass sheet, with an off white cardboard sheet cut out for the photographs to frame them, cardboard backing sheets with an ink inscription under the two photographs. The rear backing sheet has been tacked onto the wooden frame. Images show the overall object, the two photographs, the text and the rear of the object. Images i2 and i3 updated for scan of the actual negs. Page 43 of Destination City 4th EditionIn Indian ink "Melbourne and Metropolitan Tramway Board's / illuminated Tram Car, during the visit / of the Duke and Duchess of York to Victoria, / April 21st to May 12th 1927 / and the opening of Canberra on May 9th 1927".trams, tramways, illuminated trams, decorated trams, royal visit, melbourne, duke of york, preston workshops, w1 class

Demonstrates and yields information about the ESCo tickets of 1906, shows the variety of tickets and passes used.Framed - wooden surround, glass, set of 26 actual tickets and two sketches of passes, timber backing board with the title "Ballarat Tramways - Sample tickets", dated 1906. Sets out the various tickets used by ESCo at the time and most likely used as a training aid for new conductors on both the electric and horse trams. Not to be displayed in light or hung up, that is display with care as fading is likely. See history of the object for details of the frame etc. Image i1 - as received from the City of Ballarat i2 - as repaired by by Kosnar's Picture framing. i3 - close up on the writing on the rear of the backing sheet i4 - detailed (1200dpi) image of the tickets. - 26.6 M i5 - image of the rear as received i6 - ditto - 600 dpi (Suitable for e-mail) - 7.2Mb See Reg Item 1846 for the newspaper clipping of Les Denmead handing the framed set of tickets to the City of Ballarat on 21/9/1971. Tickets comprise: Electric Tram Top Row: 2d - white - letter H - strip ticket requiring a trip ticket of the same value to be issued. 1 1/2d - white letter D - strip ticket requiring a trip ticket of the same value to be issued. 3d - off white, number 000,021 - Cash Adult - Up 2d - off white, number 000011 - Cash Adult - Up 2nd row 2d - check ticket - light red paper - number 000,011 - Up 1 1/2d - off white paper, number 000,011 - Up 3d - off white, number 000,021 - Cash Adult - Down 2d - off white, number 000011 - Cash Adult - Down 3rd row 2d - check ticket - off white paper - number 000,021 - Down 1 1/2d - check ticket - off white paper - number 000,021 - Down 1d - off white - number 000009 cash - child Up ticket 2d - off white - number 000021 cash - child Up ticket 4th row Employees only ticket - yellow, strip ticket School ticket - off white strip ticket - No. 6 1d - off white - number 000021 cash - child Down ticket 2d - off white - number 000021 cash - child Down ticket 5th row Drawing of Employees Bronze Medallion Drawing of pass issued to City Councillors and Officers of the Company Parcel ticket - No. 1 - 3d - to be attached to the parcel Parcel ticket - No. 1 - 3d - issued to the sender Horse Tram tickets 1st row 4d - off white paper - 36050 3d - white paper - 79701 2d - off white paper - 46401 2nd row 1 1/2d - off white - 81901 1d - off white - 99933 two 1 1/2 strip ticket - red two 4d daily return ticket - blue paper strip ticket 3rd row Monthly School ticket Sheet dated 6-9-06 with the initials SHS. "on the inside of the frame object was "Restored (?) and framed by Keith Russell Anderson, SEC Ballarat 26 Aug.1966"trams, tramways, tickets, esco, city of ballarat

This glass slide captures the unveiling of the two cannons at Queen Victoria Park which were secured by Sir Isaac Isaacs and presented to Beechworth in 1901. In the foreground, elegantly dressed ladies and dapper gentlemen can be seen gathering around the park's iconic rock, with excited children looking on from the sides. Atop of the rock stands an intricately designed gas lamp that has since been removed but evidence of its existence still remains. The unveiling of these two cannons would have been a celebratory affair for those in attendance, marking a momentous occasion for Beechworth residents that was captured in this lantern slide. Sir Isaac Isaacs was an influential figure in Beechworth, having grown up and studied there. He began his education at the Common school and eventually graduated as dux of the Beechworth Grammar School. His commitment to public service was evident early on and he was elected to the Legislative Assembly in 1892, representing Bogong, a district which included Yackandandah and Beechworth. During his time in office he pushed for better education, healthcare, employment opportunities and housing for the people of Beechworth. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide captures social and historical significance as it represents a moment of celebration for Beechworth residents and symbolises an important milestone in the town's history. This lantern slide stands testament to a special moment in Beechworth’s history and its significance continues to be remembered today. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide. burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, queen victoria park, rock, victoria, cannons, isaac isaacs, governor-general, politicians, judges, indigo shire, north-east victoria, 19th century, nineteenth century, parks

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

Beechworth's Anglican Church, Christ Church St Peter and St Paul, has served the Beechworth community since 1858 in its present form, following its beginnings in a tent in 1855. The Victorian branch of the National Trust classified the building as regionally significant in 1959 and the organ as of significance to the nation in 1992. Building a place for Anglican worship was a priority in the early days of Beechworth's settlement as the town was a site of regional administration due to its association with the economic and social expansion of Victoria during the Gold Rush period. The Church garden features several significant trees monitored by the Beechworth Treescape Group, including a cork oak growing near the Ford Street entrance, an Atlantic cedar, a bunya or bunya-bunya pine and two kurrajongs. Some of these long-established trees may be visible in this lantern-slide image. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: 1 /beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, christ church, indigo shire, north-east victoria, churches, architecture, anglican, religion, atlantic cedar, organ, magic lantern, christ church st peter and st paul, beechworth treescape group, cork oak, bunya pine, bunya bunya, kurrajong, quercus suber, cedrus atlantica f. glauca, araucaria bidwillii, brachychiton populneus

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice