Print of original oil painting by Will Longstaff depicting a host of ghostly soldiers marching across a field in front of the Menin gate War memorial at Ypres, Belgium.Plaque on frame "Menin Gate at Midnight / copyright reserved / by / Will Longstaff / presented to the Commonwealth Government of Australia / by / Lord Woolayinton

Sharpening stones are part of a carpenter or woodworker's took kit so that blades of tools can be kept sharp.The sharpening stone is an example of equipment used in the 19th and 20th centuries by woodworking tradesmen.Sharpening stone, sometimes called oil stone, whetstone or honing stone. Rectangular block of stone within a recessed wooden block, with a matching wooden lid.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sharpening stone, whet stone, honing stone, oil stone, carpenters tools

Eucalyptus factory, near Inglewood 23/09/1995. Old shed, with hoist on left hand side, to put eucalyptus leaves in pit for oil extraction. Edith Lunn

Jack Whelan built replica rig, Lake Tyers Beach Progress Association, and worked on beautification of the area.Black and white photograph of group of people on bus tour, looking at the Bunga Oil Bore, old Lake Tyers Road, near Lakes Entrance ,Victoria.oil and gas industry

Black and white photograph of Bairnsdale Motors showing old garage advertising Dunlop Tyres and Shell Motor Oil, people and vehicles in front Bairnsdale Victoriabusinesses

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton which dates from the 1850s. There are several works of art and photographs depicting Clifton Banks which date from the 19th and early 20th centuries. This oil painting is believed to be the work of Emma McGeorge, the wife of Canon Samuel McGeorge, the Vicar of Christ Church, Warrnambool form 1899 to 1905. It is surmised that Emma McGeorge was encouraged by the artist Mary Norman to take up painting as a pastime or to continue with her art interests. Emma McGeorge may have been a pupil of Samuel Pearce Fuller and Mary Norman. She was successful as an exhibitor and entrant in art exhibitions in Warrnambool in the early 1900s. She died in Warrnambool in 1933. This is a highly significant art work as it has artistic merit and is one of the depictions of Clifton Banks on the Hopkins River and so has historical value. It is an example of the high standard of art work that was being produced, especially by women, in the late 19th and early 20th centuries in Warrnambool. It was bought at an auction sale in Camperdown by Les O’Callaghan in 1997. This is an oil painting, probably by Emma McGeorge, on art board of Clifton Banks on the Hopkins River. It has a gilt wooden frame with multi-tiered highly-ornamented outer frames in a gold colouring. The lower frame is discoloured (perhaps by smoke from a fire place) and there is a small piece of wood missing on the lower frame. All the gilding is slightly discoloured. The back has been sealed with pasted paper and there are old tacks and old wire for hanging the picture. There is a label on the back from W. Hickford, the Warrnambool picture framer and handwritten information on the artist and the artwork by Les O’Callaghan.Front: ‘E.Mc.G.’ Back: ‘W. J. Hickford, Picture Dealer, Framer and Gilder, Liebig Street, Warrnambool, Mounting and Repairing, Old Frames Re-gilt, Oakley Printer’ ‘603’ clifton banks, emma mcgeorge, warrnambool, hopkins river estuary

Believed to be a Chevrolet or Pontiac on the forecourt. Signage for Shell Motor Spirit and Texaco Motor OilBlack and white copy of photo printed on glossy photographic paper 30.5 x 40.5 cm (12 x 16 inch); image size approx. 18.5 x 28 cmc. stone, chevrolet, diamond creek, garage, motor garage, pontiac, service station, shell motor spirit, texaco motor oil

150 years of experience and commitment. Norwegians have been producing and exporting cod liver oil for more than 1000 years. But it was not before 1645 it was reported that cod liver oil could be used to prevent and cure disease. At the end of the 18th century the first scientific article was published to support this. In the middle of the 19th century, the pharmacist Peter Möller observed that people along the west coast of Norway consuming cod liver oil regularly were rarely ill. He dedicated himself to finding out how this healthy liquid could be produced with better taste and pureness at a lower price. He developed a method of using steam to extract the oil from fresh cod livers. Based on this technological advance, the company Peter Möller was founded in 1854 in Lofoten on Norway’s arctic coast, where you find pure, cold, clean seas and high quality raw material. Peter Joachim Möller (1793-1869) At first Möller’s Cod Liver Oil was believed to be a good source of vitamin D and A, and the health benefits were associated with these vitamins. Peter Möller believed, however, that there were other significant benefits from fatty acids and other ingredients in the cod liver oil – both known and unknown. Peter Möller was dedicated to understanding more about these benefits. His dedication and commitment is clear in Möller's vision to improve people’s health by delivering the highest quality omega 3 products. Timeline 1793 Peter Möller is born in Røros, Norway 26 April. 1819 Peter Möller travels to Christiania (Oslo) and is employed by the pharmacist Frantz Peckel at the Svane chemist. He is employed on condition that he passes his pharmaceutical exam within one year. 1822 Graduated as a pharmacist with a unanimous first grade and with the award of the Professor's special satisfaction. 1842 Together with professors A. Holst and Chr. Boeck, Peter Möller participates in the commission which develops the first Norwegian Pharmacopoeia. 1853 Peter announces his method to cod liver oil works along the coast. He equips cod liver oil factories with new equipment in Lofoten, Ålesund and Kristiansund. The facility outside Ålesund is the most important for testing the method. 1854 The Peter Möller company is established as production has started at the three factories. Sales are lower than anticipated even though the quality is considerably better with the new method. The consumers of cod liver oil had been used to the fact that “good medicine must taste bad” and would not believe that the new and better quality was as healthy. Therefore, the following years are used to introduce consumers to the product, and also to convert more producers to the new method. 1869 Peter Möller dies. There are 70 cod liver oil steamers which use his steam rendering method, and 5000 barrels are produced every year. Möller’s company increases the quality by better routines for quality controls. 1870 Severin A Heyerdal, Möller’s son-in-law, assumes the leadership of the firm after Peter's death. He continues the work by improving the quality of the cod liver oil. The goal was to make it as pure and unaltered as in the liver. At this time, Möller had already started selling its product in the USA. In 1870, WH Schieffelin & Co. ("The oldest drughouse in America") was engaged by Peter Möller in the USA. 1881 Frantz Peckel Möller assumes the leadership of the Peter Möller company. He saw it as his duty to further the work on cod liver oil, and through a combination of solid scientific education and an eminent sense of the great mercantile possibilities, he made Möller’s cod liver oil the number one in the world market. 1914 The first world war leads to Möller’s bottled cod liver oil being shut out of the export market. However, domestic sales are good. 1924 The subsidiary Møystad Möller & Co. is established for bulk exports and the Association of Medicinal Cod liver oil Exporters is established in Bergen in 1925. 1925/26 The green bottles are introduced. Medicinal cod liver oil exports remain almost constant, while total Norwegian cod liver oil exports increase. 1938 The factory on the Løren grounds in Oslo, Norway is built. The factory is in the same place today. Peter Möller’s Pharmaceutical Laboratorium A/S is also established to separate out the scientific business. Investment is made in a new facility for refining and bottling veterinary cod liver oil, and increased production of industrial cod liver oil. 1940 The outbreak of the 2nd world war sees exports fall dramatically, while cod liver oil’s significance as a dietary supplement receives increased attention. Domestic sales increase strongly. 1945 After the war, medicinal cod liver oil retains its high status as an important dietary supplement in the “rebuilding" of the country. Cod liver oil becomes an ”emergency product in ravaged areas where the supply situation is difficult. Competition from other countries such as the USA, England and Iceland increases, and Norway no longer dominates the market. 1983 Möller’s cod liver oil in capsule form is launched and palatable cod liver oil is launched. 1990 Peter Möller A/S merges with Orkla Borregaard A/S (now ORKLA) 2005 Peter Möller merges with CollettPharma. The new company is called MöllerCollett. 2007 Merger between MöllerCollet and DanskDroge. The new company is called Axellus. Oval in section with a thin neck, mauve tinted clear glass bottle with text embossed on side.On side : 'P.MOLLER', 'OL JECOR', 'GADOR VER', 'CHRISTIANIA'.cod liver oil, norway, peter moller, christiana, oslo

Hubert Sturzenhofecker was a German Lutheran Missionary from New Guinea, interned in Camp 3. After the war he returned to Germany.Picture of a lake, trees in the background, 5 ducks swimming on the lake. Painted on 3 ply wood & mounted in a brown wooden frame. Painted by Hubert Sturzenhofecker.Meinem Freundeww2, camp 3, illustrations, oil, hubert sturzenhofecker

THE PAINTING WAS DONE BY MRS. HOLY BARKELLSEPIA TONED LANDSCAPE MOUNTING BOARD MARKED THE MOUNT ROAD CLUNES. BROWN WOODEN FRAMElocal history, illustration, oil, barkell, harris family.

This is a photo of a fancy dress party in the old Halls Gap Hall. The hall is lit by oil lamps.The photo shows a large group of people, some dressed in fancy dress, grouped in rows for the photo. In the background is a wooden slat wall of a building with the framework visible. There is a large light in the centre, top of the photo and thick cables/wires extend from it to the edges.buildings, halls, recreation, parties

Painted by , Esme Reynolds, daughter of Edward Reynolds, early settler.This item is aesthetically significant and shows the artistic skills of women of early settler families.Oil painting of three pink camellias in a bowl with a black/brown background and wooden frame. Painted by Esme Reynolds . Frame has two raised gold lines .Front left - Esme Reynoldspainting-oil reynolds

Bendigo Advertiser ''The way we were'' from 2000. Good Oil: Workers outside the S. Brown and Co. motor garage in Queen Street. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Honing stones or sharpening stones are often included in a carpenter's and woodworkers tool kits to keep tool blades sharp.The sharpening stone is an example of carpentry equipment used to sharpen tools and blades in the 19th and 20th centuries.Sharpening stone, also called an oil stone, whetstone, or honing stone. Rectangular stone is semi-recessed in a wooden block with another block on top that forms a lid. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sharpening stone, oil stone, blade sharpeing, tool, whet stone, whetstone, honing stone

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. 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. Painting of 1873 sailing ship the "Loch Ard". Oil painting on board behind glass, framed in white painted timber. Artist is C Smith. Inscription on back. "Loch Ard launched 1873, sunk near Pt Campbell, with loss of 52 lives 1878" "C. Smith" "Loch Ard" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, loch ard gorge, maritime oil painting, c. smith, sailing vessel

This is one of a pair of paintings by artist Mike McCrea, created when he was in Warrnambool in 1985. The painting was framed and sold by Patana Galleries, Paton Place, Manly Vale, NSW. It was later purchased by athe company of Master Mariners of Australia and who donated the pair to Flagstaff Hill. The pair of paintings are significant for their association with steamships and the Master Mariners of Australia group. The paintings represent a time in local history when many steamships were sailing the coast and transporting passengers and goods.Painting; timber framed oil painting with the image of a cargo steamship off the coast of Warrnambool. Artist is Mike McCrea. Framed by Patana Galleries, Manly Vale, NSW. Hand written, "Red. No. 390 A" Sticker "61"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, mic mccrea, patana galleries, master mariners of australia, steamship

This is one of a pair of paintings by artist Mike McCrea, created when he was in Warrnambool in 1985. The painting was framed and sold by Patana Galleries, Paton Place, Manly Vale, NSW. It was later purchased by athe company of Master Mariners of Australia and who donated the pair to Flagstaff Hill. The pair of paintings are significant for their association with steamships and the Master Mariners of Australia group. The paintings represent a time in local history when many steamships were sailing the coast and transporting passengers and goods.Painting, framed oil on board; cargo steamship off the coast of Warrnambool by artist Mike McCrea. Framed by Patana Galleries, Manly Vale, N.S.W. Signed by artist.Signed; "MIKE" "J15/62 McCrea" "Red. No. 390 A" Sticker with "62" "PATANA GALLERIES / PATON PLACE, MANLY VALE / PHONE 949-1535"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, mike mccrea, steamship, master mariners of australia, patana galleries

Black and white photograph showing a workman, believed to be foreman of deep shaft operations, shaking hands with officials of Lakes Oil Limited company at Lakes Entrance Victoriaoil and gas industry

Black and white photograph of four oil workers SA No 2 crew Dinny Hehir Jim Kennedy Alan Campbell Jock Gunn at Lakes Entrance Victoria.oil and gas industry, engineering, social history