The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the left side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the right side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

Sewing machine, portable, hand operated, with Premier logo. Has folding crank handle, body painted black with floral design, wooden base and separate wooden cover with lock. Base has compartment with accessories, covered by curved ended, sliding wooden panel. Decorative linework on side, carvings on each corner. Wooden handle on cover is carved in rings, folds down. Below handle is decorative inlaid pattern. Serial number on plate at back of machine. Accessories include 13 attachments, key (broken), screwdriver, sewing machine needle, razor blades (2) and buttons. Attached to inside of case is a square of paper with a number on it. Instruction book for Singer Sewing Machines is included. Also with machine are white tailor's chalk and a cut out, fabric pocket with tissue paper pattern pinned to it.Serial number "579200" is stamped into plate at back of machine. Brand on transfer on front of machine is "Premier". Paper inside case has hand written number "334A". Instruction book "Instructions for using Singer Sewing Machines No. 66 - Oscillating hook for family use" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, permier sewing machine, hand operated sewing machine, dressmaker, fasion, singer no. 66 manual, textile, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, permier sewing machine, hand operated sewing machine, dressmaker, fasion, singer no. 66 manual, textile

Object. A 5 cm long ribbon, woven in a heavy weave, with a .75 cm red vertical stripe on each side, and a 1.5 cm vertical light blue stripe in the centre. Three .75 cm bands of brass metal - a shaped strip at top and bottom of the fabric, with a rectangular shaped clasp in the centre. These three clasps have decorative engraved patterns. The lower clasp- called a suspender, has a circular hook at the bottom, from which is suspended a circular brass fitting, holding a metal link, which is attached to a four sided shape, with letters in a circular shape - HTWSSTKS, Lodge symbols are on each side of this perspex shaped hanging. A 6 cm long pin attached to a loop on the top bar would fasten the badge to a suit jacket lapel, or other regalia.organisation, masonic lodge, brass and ribbon lapel badge

This early 1880s Mason & Hamlin reed organ was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. It was donated to the Williamstown St Nicholas Seamen's Church by the Joy Club for Fighters around the time of the opening of the church. The front panel displays the front and back of six medallions, showing the year and location of exhibitions that Mason & Hamlin participated in, adding perceived notability and prestige to the value of this organ. These medallions date from 1867 - 1881: Paris 1867, Vienna 1873, Philadelphia 1876, Paris 1878, Sweden 1878 and Milan 1881. MASON & HAMLIN Mason & Hamlin organ manufacturer was founded by Henry Mason and Emmons Hamlin in Boston, Massachusetts in the 1850s, making about 450 organs per year. By 1905 the annual turnover was around 10,000 instruments. The Cable Co. purchased the company in 1911, which in turn was taken over by the American Piano Co. in 1924. By 1927 the production reed organs had ceased. Mason & Hamlin, like many other manufacturers, publicised its instruments at county fairs and exhibitions. They were quick to advertise any awards they won, or even recognition for displaying at these events, by adding matching medallion decals to their products. JOY CLUB FOR FIGHTERS The Joy Club for Fighters was formed in Williamstown in 1940 to raise funds to support Australians fighting in Australia and overseas in World War II. Activities such as dances were organised in venues such as Mechanics' Institutes, and enthusiastically supported. Donations were given to several hospitals and other care facilities, and local fighters, for distribution to the servicemen. Items such as food hampers and cigarettes were amongst the tributes given. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The organ is historically significant for its creation, being circa 1880 and still in use in the 1960s. This organ is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Joy Club for Fighters, a support charity for Australian servicemen and women of World War II. The connection of this item to the Mission to Seamen and to the Joy Club for Fighters highlights the strong community awareness of the life of people in the armed forces, their dangers and hardships, and their need for physical, financial, spiritual and moral support.Organ; reed organ, mahogany wood with decorative carving and colourful inlaid floral design. Has two pedals that are decoratively covered in floral patterned tapestry. Inscriptions are on the panel above the keyboard. Organ has five octaves and eleven stoppers. Made by Mason & Hamlin, America, circa 1881. This organ is part of our St Nicholas Seamen's Church collection."Mason & Hamlin" and below the music rest "No 113032" and other indiscernible print Medallions, left - right "PARIS, 1878." "SWEDEN, 1878." "PHILA., 1876." "MILAN, 1881." "VIENNA, 1873." "PARIS, 1867."flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, joy club for fighters, musical instrument, reed organ, mason & hamlin, worship service, worship music

Richard Hartley Smith Abbott and Mary Hannah Gibbs had eight children. This family albums contained photos of them and two of their children - Harold Athelstane Abbott (Born 1889. Died 1979) and Kenneth Cyril Abbott (Born 1890). Photos catalogued individually.A dark brown leather-bound photograph album belonging to the family of Richard Hartley Smith Abbott. The front cover has decorative embossed floral patterns, the back cover has an embossed geometric pattern. Inside the covers is a green and gold floral-patterned paper lining. Twelve heavy card double sided pages have cut out sections with openings for insertion of photographs. Six of the pages have decorative borders of painted flowers. The pages have gold covered edges. The album has a silver metal clasp to secure the album. photo album, r h s abbott family

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the rear panel of the fireplace in the dining room at Villa Alba. The central decorative tiles depict pears and pomegranates. Above and below this central pair are abstract floral tiles in shades of olive green, blue and white. These six decorative tiles are surrounded by rectangular plain majolica tiles in shades of maroon and teal blue. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles in the fireplace of the drawing room at Villa Alba. The gold, white and blue decorative tiles depict abstract flowers within a quatrefoil design. The tiles were produced by Mintons Ltd. In the Minton's Ltd Tile Catalogue, this tile is listed as No. 1427 G. Sin. Tiles. / End Tile. It can be viewed in the flipbook viewer of the original catalogue published by The Minton Archive on page 44/206.fireplaces, villa alba - drawing room, mintons, mintons - tiles

Textiles, pink cotton lingerie or stocking bag with fold over envelope style flap at back over opening. Front has overlay of cream coloured tapestry fabric with pulled thread work embroidered with pink cross stitch and line patterns. Three decorative 2 cm pink satin ribbon bows in three corners. Fourth ribbon detached (stored in bag). 4 cm gathered cream lace edging on four sides.textiles, domestic, pink cotton lingerie bag

Object. An elaborate item, with a light blue grosgrain ribbon background. An arched and a straight bar at the top state CORONA LODGE. A crown with fanned background, under which is a plinth and a clasp stating No 195 V.C. Below this is an inverted ^shape, highly engraved with a Greek eternity pattern, and decorative scrolling. From this shape hangs a rectangular shape 2 cms x 1.7 cms, which has a fine decorative edge, and a central motif. The underside of the ^shape is engraved as above.Front: CORONA LODGE No195 V.C. Back: Presented to Wor.Bro.W.R.WRIGHT I.P.M. by the BENDIGO CORONA LODGE No 195 V.C. 25.8.20?1organisation, masonic lodge, corona lodge medallion

This glass plate photograph shows good detail of members of the Warrnambool Garrison posing for their photograph in front of a young township. There are other well-dressed citizens behind them. The three men with frogging on their sleeves were commanders were likely to be commanders. The men are facing north with Cannon Hill and the fortification area in the background. It dates from the 1860s. The firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles. The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s. The three storey building in the photograph is likely to be the Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time; if one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications. The glass plate method of photography was widely used during the mid-19th to early-20th century. The donor and maker of the photograph are unknown. Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century.This photograph is a record of the very early local defence force, circa 1866. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at that time. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back, with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. Photographer looking towards the south east and Cannon Hill, with the Warrnambool Garrison facing north, ca.1860s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, helpmann, manifold and bostock, 1853 lee enfield musket, tintype, warrnambool garrison, 1860s, cannon hill, manifold & bostock, flour mill, 3-storey building

District Police Office Sandhurst Court records. October 1857 - October 1858. Brown ledger containing the records of the District Police Office Sandhurst. Cover has linen like covering with suede leather corners and spine. All have decorative scroll and pattern work. Dates written in ink on the spine. Remnants of an adhesive label on the spine. Inside covers lined with red, green and gold patterned paper. Entries include names of judges, solicitors, witnesses, accused and plaintiffs, Each record include descriptions of charges and the rulings. Most of the sittings were conducted by police magistrate Lachlan McLachlan. Notes Philip Barton inherited the book from his father Russell Barton who died in 2002. Russell Barton was a barrister who practised on the Supreme Court Circuit in Bendigo from 1960 - 1975. He was interested in history and it is assumed that he was given the book by the Bendigo Court officials. Philip Barton gave the book to Dennis Johnason on the understanding that it be given to the Bendigo Historical Society. See Donor.government, local, court records

This Minton floor tile is from the wreck of the LOCH ARD along with other examples of this manufacture recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on June 1st, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line ships that sailed from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. 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. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. 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. A square Minton floor tile with a black and apricot pattern against a chocolate brown background. There is a large chip missing. This decorative floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.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, encaustic tile, melbourne international exhibition, floor tile, minton floor tile

The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental hand-piece that would be fitted with a dental tool. The drill has a three footed cast iron base, one foot being longer than the other two. A vertical C shaped frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from telescoping pipes, joins into the top of this frame and is height adjusted by a hand tightened screw with a round knob. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up and down. At the end of the arm is a firmly fixed, flexible rubber hose protected for a short distance by a sheath of thin metal. At the end of the hose there is a fitting where the drill’s hand-piece would be attached; a small, silver coloured alligator clip is also at the end. A treadle, or foot pedal, is hinged to the heel to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. There is a spring under the toe of the treadle. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle is bulbous between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The two shorter feet of the base are made from a long metal bar that has been curved outwards, and its centre is bolted to the base of the pole. Under the ends of the curved legs of the base are wedge shaped feet. The driving-wheel is decorated in light coloured paint on both sides, each side having three sets of floral decals evenly spaced around them, and each about a sixth of the wheel's circumference. Similar decoration is along the sides of the frame. The foot pedal has decorative cutout patterns in the centre of the foot and at the toe. On the long foot of the stand is some lettering with a fine, light coloured border around it. The lettering is hard to read, being a dark colour and flaking off. There are also remnants of fine, light coloured flourishes. The foot pedal has lettering of the maker’s trade mark cast into the metal at the ball of the foot. Lettering on the base is peeling and difficult to read. The foot pedal has a trade mark cast into it that looks like a combination of ‘C’ , ‘S’ , ‘A’, ‘R’. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison

The ship building company E. & A. Sewall, from Bath, Maine, USA, built many ships that had wheels with the same decorative, starburst pattern on them as this particular wheel segment, including the Eric the Red. The wheel was manufactured by their local Bath foundry, Geo. Moulton & Co. and sold to the Sewall yard for $100, according to the construction accounts of the vessel. Eric the Red was a wooden, three masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, and was the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows that Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) - about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. On 4th September 1880 the ship had been sailing for an uneventful 85 days and the voyage was almost at its end. Eric the Red approached Cape Otway in a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats, the mizzenmast fell, with all of its rigging, then the mainmast fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Cries were heard coming from out of the darkness. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts and bravery, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and a medal for bravery. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". “The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) Segment of a ship's wheel, or helm, from the wreck of the sailing ship Eric the Red. The wheel part is an arc shape from the outer rim of the wheel and is made up of three layers of timber. The centre layer is a dark, dense timber and is wider than the two outer layers, which are less dense and lighter in colour. The wheel segment has a vertically symmetrical, decorative copper plate inlaid on the front. The plate has a starburst pattern; six stars decorate it, each at a point where there is a metal fitting going through the three layers of timber to the rear side of the wheel. On the rear each of the six fittings has an individual copper star around it. The edges of the helm are rounded and bevelled, polished to a shine in a dark stain. Around each of the stars, front and back, the wood is a lighter colour, as though the metal in that area being polished frequently. The length of the segment suggests that it has probably come from a wheel or helm that had ten spokes. (Ref: F.H.M.M. 16th March 1994, 239.6.610.3.7. Artefact Reg No ER/1.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship's-wheel, eric-the-red, helm, shei's wheel, ship's steering wheel

Vestas are the historical name for what are now known as matches. They were named for the Roman goddess Vesta whose domain was the hearth and home. The Swan company began production of short matches, mostly useful for lighting pipes and cigarettes due to their deliberately short length. Due to their small size it became convenient to carry these Vestas within a Vesta Case kept somewhere on the person, large enough to contain enough matches for a days use. The cases prevented their contents from becoming damaged and damp while also stopping them from accidentally striking if held loose in a pocket. This is a simple example of a Vesta Case.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A decorative silver coloured vesta or match book. It has a raised crosshatch pattern in a circular pattern on the obverse side. The vesta has a hinged top and side loop to allow for attachment.A01199/burke museum, vesta case, vesta, matches, silver, social history

The Bell was presented to the Mission by the Aberdeen and Commonwealth Line in October 1957, after the ship made her final voyage to Australia in 1956 and it was broken up in Barrow in April 1957 by Thomas W Ward (UK). In the Annual Report 1957, Padre Oliver mentioned "the bell was found unsuited for the chapel belfry, it is to be mounted on a bracket and placed in the Celia Little lounge."Cast brass bell with wrought iron anchor and hook design wall mount: decoratively plaited cord in maritime knot pattern to resemble chain, sealed with a varnish and attached to cast iron clapper. Wrought iron hook secured by metal bolt. Bell is inscribed in upper case capital letters with MORETON BAY. Anchor attached with four flat headed hexagonal bolts with mighted wooden frame. Bell inscribed with upper case capital letters MORETON BAY. / Also brass presentation wall plaque (see image)bell, anchor, brass, ss moreton bay, ship's bell, plaque, celia little room, bracket, p&o, peninsular and oriental steam navigation company, passengers liners, passenger ships, emigrants, emigration

Hand theatre made "trench art", utilising used artillery brass shell casings, of various calibres, hand made with such "tools" as were available at the time. They have been decoratively trimmed at the mouth of each with a "scalloped" pattern, the shallowest casing mounted on small arms casings as "feet" and the large casing inverted engraved and embossed with a depiction of the Australian Commonwealth Military Forces "Rising Sun" badge.This "Dinner Gong" and "Striker" are significant Historically and Socially, as it is believed to be the only example of a dinner gong and striker made in theatre as contemporary "trench art" by serving members of this group. Around the top of the main part of the Gong are stamped the initials of the Australian members of the Royal Flying Corps at the time, it is of possible National historical significance, as they were such a small group at best, and a highly vulnerable group, quite likely to not survive the conflict. This group and their desendants went on to be a part of the formation of the Australian Flying Corps, the beginings of the Royal Australian Air Force. It relates to the embrionic stages of a part of the now Australian Defence Force.A commemorative Dinner Gong construted from Artillery Shell Casings of various sizes. The largest cut short at the bottom, mounted on rifle or machine gun casings cut short as 'feet'. A slightly smaller diameter inverted as the 'gong' with decorative engravings depicting, a Rising Sun emblem on a decorated back ground, 'AFC' (Australian Flying Corps) crowned wings, on the same decorated back ground. The open ends of these larger casings is 'scalloped' and decorated beautifully, while the closed ends have a 'pie crust effect around the flanged edge. There is a biforcated mount at the top to hold the 'striker' made from white metal ballastered rod with a wooden eliptical knob. On the top around the striker mount are stamped the initials of those believed to be the first Australian Aviators in the then AFC.

This earthenware dinner plate was donated by Lorna Jensen. It had belonged to her father Wally O’Brien, who was a cyclist and had ridden in the long Melbourne to Warrnambool Cycle Classic twice. Wally was given this plate by a diving friend who had recovered it from the wreck of the LOCH ARD, on the southwest coast of Victoria. The plate had been sitting in Lorna’s mum’s china cabinet until recently when she and her husband drove to Warrnambool to donate it to Flagstaff Hill Maritime Village. When they stopped at a friend’s home along the way the friend removed it from its plastic bag and tea towel and carefully wrapped it in protective packaging for the rest of its journey. The plate is very similar to other plates recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th-century Victorian era. It is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830s, but no one is sure exactly who the original designer was. The industrial age made the production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in the loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently, the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic market would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to simpler, cheaper oblong shapes. 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, umbrellas, 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 were intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am 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 4 am 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 their 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 a 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 were 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.Plate, earthenware dinner plate recovered from the wreck of the Loch Ard. Blue transfer design (Asiatic Pheasant) with a clear over-glaze. The outer rim is scalloped. Printed within cartouche on underside of plate "_ H E C L " Printed within cartouche on plate "_ H E C L "flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, tom pearce, eva carmichael, loch ard, asiatic pheasant design, dinnerware, ceramic plate, wally o’brien, dinner plate

This booklet of poems has been compiled by Thomas Terrington. Born in 1897 Tom Terrington worked at dairying, fencing, carpentering and woodcutting before taking over the Framlingham store when he was in his forties. He was a scholarly person with a wide knowledge of English literature. He was a well-known local poet and a member of the Australian Poetry Lovers’ Society. He wrote extensively on local history and his unpublished ‘History of Framlingham’ is in the State Library. Framlingham is a small settlement 25 kilometres north east of Warrnambool. This booklet is of interest as it contains some of the poems written by Tom Terrington, an important resident of Framlingham in the 20th century. This is a soft cover book of 24 pages. The cover is green with black decorative borders and black binding. The pages have black printing on green paper. The last few pages are missing. The cover is faded and a little torn. There are ornamental scrolls and patterns in black throughout the pages. tom terrington, history of framlingham

This is a souvenir dish or small plate with an illustration of the Hopkins River in Warrnambool. Included in the illustration are the rowing shed, the boathouses and the lambertiana trees in the property of Lyndoch. The souvenir dish would have been sold to tourists visiting Warrnambool or Warrnambool residents in the 1920s and 30s. This type of souvenir was popular at the time in any tourist town or place in Australia. Tourism has been an important industry in Warrnambool since the late 19th century. This item is of interest as an example of the type of souvenir produced for tourists in the 1920s and 30s. It was both a useful and decorative item. It will be useful for display. This is a small glass souvenir dish. The centre of the dish features a colour illustration of the Hopkins River, Warrnambool (near its mouth). The glass around the illustration is heavily patterned and embossed. The bottom of the dish is dark blue. ‘Hopkins River Warrnambool’ tourism in warrnambool, warrnambool history

This is a food cover, most commonly used in homes in the days before refrigeration and plastic containers. It usually contained food, mainly meat, to protect it from flies, heat or draught while allowing the air to circulate around it and it could be hung in sheds, kitchens, cellars etc. This food cover is retained as a memento of domestic objects used in the past and will be useful for display purposes.This is a food cover made of metal with a circular base and decorative sides, finely pierced to create a mesh pattern. It has a fluted and patterned top with a ring handle. It is rusted.vintage kitchen items, warrnambool & district historical society collection

Tea has always been a common drink in Australia and before the introduction of tea bags a teapot such as this was used to infuse the tea leaves. This item is a decorative piece and would have been used for special occasions. The use of tea bags in both teapots and cups became widespread in the 1960s in Australia. Tea bags are the popular choice today for tea drinkers.This item has no known local provenance but is retained as a fine example of a vintage tea pot. This is a white china teapot with a lid which contains a steam hole and a handle. The spout has gold patterning. The handle is painted yellow with a gold strip. The lid has a yellow and blue decorative band and is decorated with flowers and gold pattern. The body of the teapot has the same decoration as the lid. The name of the country of origin and a number are on the base. Made in Japan tea pot, vintage domestic item, tea making in australia

These two orange-coloured dishes are made of pressed glass to which an iridiscent surface shimmer has been added by the application of metallic salts. They are examples of Carnival Ware and the orange colour is known in the trade world as 'marigold'. Carnival Ware was first produced in 1908 as a relatively cheap version of decorative glassware in U.S.A. and this country was the main producer up to the 1940s, with the 1920s being the decade when it was most popular. Carnival Ware was also produced in other countries including Australia and the United Kingdom and is a collectable item today. These two dishes have no known local provenance and are retained as examples of vintage household items serving both a utilitarian and a decorative purpose..1 An oval shaped shallow glass dish with pressed patterns and handles at either end. The item is orange-coloured. .2 as abovecarnival ware, orange glass dishes, vintage decorative items

This item is an example of Carnival Ware glass. Carnival Ware is pressed glass to which an iridescent surface shimmer has been applied using metallic salts. The trade name of the colour is 'Marigold'. Carnival Ware was first produced in U.S.A in 1908 and production in both U.S. A. and other countries continued until the 1940s, with the 1920s being the decade when it was most popular. It was a cheaper version of a decorative item for the household as well as having a utilitarian purpose and is a collectable glass today.This vase has no known local significance but is retained as an example of an item likely to be found in many local households of the 20th century.This is an orange-coloured pressed glass vase. It is on a stand of three legs and has a fluted patterned top rim. The body of the vase has raised decorations of butterflies and berries.carnival ware, vintage glass ware, carnival ware glass vase

These two items have been linked together as a decorative pair but it is not clear why, as the sphere or bulb does not have an opening and cannot hold a light and there is nothing very attractive about the two items as they appear today. The stand may have been set in front of a coloured light to ensure reflection or the sphere may have been decorated in some way.These items are kept as ornamental curiosities.This is a clear glass sphere on a metal stand. The stand is painted light brown and has a fretwork decorative base, a moulded stem and an open top with a curved pattern edge.vintage ornaments, glass ornaments

This item was found in 2018 washed up on the beach at Lady Bay in Warrnambool. It is a religious object and is similar to ones made and sold to be used in the home on a family altar or as an ornament on a shelf. It may originate from Italy. The display of items such as this would have been common in the early to mid 20th century, particularly in the homes of those belonging to the Catholic religion. The owner of this item is not known but it is retained for display purposes.This is a white china object with a statue of a Madonna and Child recessed into a oval-shaped setting. There are three holes at the top of the statue for attaching the item to a wall or shelf. The edge of the item is decorated with a pattern of white shells. At the foot of the statue is the remnant of a decorative piece broken off. warrnambool, religious ornaments

This is a cigarette case for small cigarettes but the original owner is unknown.This item has no known provenance and is kept for display only.This is a brown rectangular shaped case with a gold and yellow decorative front. It has a metal clasp and is hinged. Inside it has two yellow cloth pieces attached to metal bars to hold cigarettes. The front pattern is slightly damagedvintage accessories, warrnambool history

These cane chairs are one of 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 Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.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 village and Museum was established. The wicker furniture is a fine example of late 19th and early 20th century light weight domestic furniture that are today very collectible items and quite rare and valuable.Pair of wicker armchairs, painted dark brown. The open wicker weave pattern extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as ‘rolled serpentine arms and back’. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. One chair base (3788.01) has been strengthened with metal bracing. The other chair (3788.02) has the remnants of an orange manufacture’s tag fixed to the base. The chairs were made 1897-1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Printed in black on an orange tag “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company

This match safe was amongst various items collected from a sea dive in Port Phillip Bay. The diver was the caretaker of the Port Lonsdale Lighthouse, who dived on various wrecks in the bay during the 1960's. After the caretaker's death, his son sold off many of the shipwreck artefacts. The match safe was purchased from the caretaker's son in the 1990's by a previous owner of the Marine Shop, Queenscliff, Victoria. Pocket match safes or match safes were small portable boxes, or containers made in a great variety of forms and shapes, each with lids or covers to contain matches and retain their quality. Matches came into use around the 1830's and were produced extensively between the years 1890 and 1920. During this period everyone carried strike anywhere matches, so they could ignite stoves, lanterns and other devices. Early matches were unreliable and prone to ignite from rubbing on one another or spontaneously. Accordingly, most people carried a match safe to house their matches. Wealthy people had ‘match safes made of gold or silver, while common folk had ones made of tin or brass. They were made throughout the world including the United Kingdom, in the U.S.A., continental Europe and Australia. Significant English makers of cases were, Sampson Mordan and Asprey & Co. Significant American manufacturers of match safes include Wm. B. Kerr, Gorham, Unger Brothers,  Battin,  Blackington ,  Whiting, George Scheibler and Shreve & Co. Different patterns and types run into thousands as well as plain and decorative examples. They were also made in a wide range of materials, including pressed brass, pressed tin, gunmetal, nickel silver, gold, bone, ivory, the wood of varying types, early plastics like tortoiseshell and Bakelite, and ceramics. A distinguishing characteristic of match safes is that they have a ribbed surface, usually on the bottom, for lighting the matches. The item gives a snapshot into the social development through it's application in every day use match safes were used at a time when there were no safety matches and the early use of matches was a dangerous affair given they were easily combustive if rubbed together in a pocket for example. The item is also an example of the shipwreck artefacts gathered along the southwest coast of Victoria.Match Safe; hollow brass cylinder with ribbed match striker texture on base and screw thread around top. Fitted brass lid has an internal screw thread, and the top's flat surface has concentric circles design, with a twisted rope pattern grip around the edge. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwreck artefact, port phillip bay, port lonsdale lighthouse, wreck, 1960’s diver, queenscliff marine shop, match container, match safe, matches, fire lighter, fire safety, heat, fire, portable match safe, 19th century