Ill, p.54.non-fictionA history of the Royal Australian Engineers during the second world war world war 1939-1945 - engineering and construction, world war 1939 - 1945 - regimental histories

ill, p.54.non-fictionA brief historical survey of the origin and development of railways in New South Wales between 1855 and 1880.railroad operations - new south wales - history, railroad construction - new south wales - history

Ill, p.54.non-fictionA book of questions relating toTransport matterstransport questions, new south wales transport

ill, p.54.non-fictionA history of transport in Australia, road, rail, air and sea.transport - australia - history, transport - australia - history - pictorial

ill, p.54.non-fictionA hand book with information for sending freight by rail in New South Wales in railroad - freight - new south wales, railroads - new south wales - australia

ill, p.54.non-fictionA pictorial history of steam trains in Queensland in the 1960s.railroads - queensland - history, locomotives - queensland - history

ill, p.54.non-fictionA pictorial history of steam locomotive operations on the New South Wales Railways especially around the Newcastle area.railroad steam locomotives - new south wales - history, railroad operations - new south wales - history

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] 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. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"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, print, philip j. gray

Withdrawn book from Yarra Plenty Regional Library. Comprehensive report including names of office bearers, life members, premiership teams, committee position reports, coach reports, captain reports and statistics for each grade, trophy winners and more covering the 1983 / 1984 cricket season. A rare significant snapshot of history documenting activities of the Lower Plenty Cricket Club in its 1983/84 season.Perfect bound, 54 p.Copy includes library "not for loan" and classification stickerslower plenty, cricket

A booklet containing cataloguing supplements.A4, 54 pages, stapled, Front cover: Sue Barnett (in her writing)cataloguing supplements, thesaurus, catalguing

Ill, maps, p.54.non-fictionA history of the Sorrento tramwaytramways - sorrento, trams - sorrento - history

Australia 1913 - 1986Linocut s.54 44/50Signed and dated , edition . Inscribed 'To Bob and Bev'

First type of nail used54 Square headed Nails of varing lengthsnails, building, maintenance

Postcard written by Albury soldier, Reg Ryan, serving with 20th Field Artillery Battery AIF, to his sister Gertie. Miss Gertie Ryan was active in raising funds in Albury to support troops overseas during World War One.A good study of Australian soldiers in France during World War OneBlack and white photograph of group of 54 soldiersReverse of photograph used as postcard - Addressed ' Dear Gert " and signed " Reg "military, world war one, albury, artillery

A selection of stories from the National Library of Australia's oral history project: Forgotten Australians and Former Child Migrants.Collected oral histories.Paperback book, 54 pages, illus. (some col.).oral history, national library of australia, forgotten australians and former child migrants

viii, 54 p. : ill., map ; 30 cm.

Written and transcribed by Peter Bassett-Smith. Extracts from letters to his mother 1934. Discusses his involement in a local play and other local observations in Eltham including recollections of the 1934 flood. 4 pagesHG Booklet 54harry gilham collection, peter bassett-smith, letters, floods

Agfa plastic mount (blue base, white cover) of a photograph of No. 18 using the Dawson St Crossover, the wrong way, to its normal expected use. Appears to be on a tour special with passengers in the tramcar. Has the Golden City Hotel in the background. Photo taken early 1960's. Tramcar has an SEC "Use Electricity for Cooking" roof advertisement and an Age newspaper advertisement on back dash panel. Note the lining of No. 18, using the wide gold lining. The slide appears to be a copy slide, given the nature of the colour and the additional number WP413. Photographer could be Bill Pearce (WP). Slide rescanned at 3200 dpi 25-10-2020, jpg replaced, tiff file retained. This file was scanned in 2003 and may show colour changes."BAS 54 in penciltramways, trams, dawson st, tours, sturt st, tram 18

The first piece in the 'Life' magazine titled "All-Purpose Old Master of Design" is a close-up look at Walter Gropius at 85. The second piece titled "'Grope' brought everything in the range of his vision" is by Peter Blake, Editor of Architectural Forum. Blake argues that Gropius was a true universalist, in contrast to Frank Lloyd Wright, Le Corbusier, Mies van der Rohe. who were all specialists.Two articles pp 49-54; pp 58-64.gropius, bauhaus, weimar, harvard, walsh st library

In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1947, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on papyrus coloured paper. 54 pages.Front Cover: School Copy. / THE / RUYTON / IAN / RECTE ET FIDELITER. / DECEMBER, 1947 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher