Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Fundraising button with the image of Lord Earl Kitchener and the word copyright above his nameRound button with union jack around outside of button with celluloid picture of Lord Kitchener in the middle and the work Kitchener under the picture

This large 10 gallon boiler would have been used over an open fire or placed on top of coals to boil clothes clean. They were first made in England during the 1700's and onwards.They were shipped to Australia and other British Empire countries to be purchased by early settlers. A large antique black oval cast iron Boiler Pot with small curved lifting handles for holding it on both sides. There is a large cast moveable carrying iron handle with a bend at the top for hooking onto an 'S' shaped hook or rod to hang over an open fire. This handle is attached on each side to thick iron loops. The Makers name is embossed on one side.Embossed on one side is 'Clarke and Co 10.GS' inside an oval shape (for gallons) There is a diamond shape too of a blacksmith at work. cast iron, cooking, boiling utensils

Very old vice. The clamp is 50 to 60 years old when they were made by Technical School students in metal work class.Used by carpenters, woodworkers, furniture makers, welders, construction and metal workers in the Kiewa ValleyMathieson's Hand Vice, the smallest at 3 inches. Ref. Page 74 Tools for all Trades Catalogue. Small steel vice consisting of two parallel jaws for holding a workpiece. One jaw is fixed and the other movable by a screw. The clamp is used for holding a workpiece during hand operations eg. filing, hammering or sawing. Small steel clamp is a versatile tool that serves to temporarily hold work securely in place by screwing each jaw together.vice/vise tool, clamp tool, hand tools

Diggers & Mining. Getting the Gold. Slide: A whim and horse-puddling machine (location unknown). Do you remember Edward Dyson's poem 'The Old Whim Horse'? Shows miners at work and puddling machine being worked by horse. Markings: 46 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. Most of the gaol has been demolished to allow the School of Mines Ballarat to expand onto the site. The remaining structures at the site include the main gate, warden's residence and governor's residence. These buildings are now used by Federation University.The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. gate, gaol, arch keystone, lydiard street, iron lacework, flyover, stone, basalt, warden's residence, governor's residence, ballarat school of mines, federation university, former ballarat gaol

The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. Most of the gaol has been demolished to allow the School of Mines Ballarat to expand onto the site. The remaining structures at the site include the main gate, warden's residence and governor's residence. These buildings are now used by Federation University.The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. gate, gaol, arch keystone, lydiard street, iron lacework, flyover, stone, basalt, ballarat school of minesfederation university, warden's residence, governor's residence

The Centenary of Warrnambool in 1947 drew crowds of 20000. It was generally felt that the celebrations excelled anything that had been seen in the city in the last 100 years. There were numerous activities held over the weekend including an elaborate street parade which was followed by joining the 4500 children at sports and picnic celebrations at the showgrounds. The Warrnambool and District Turf club also held a race meeting to aid the Hospital and raised 740 pounds. It was estimated that 20000 attended the finale bonfire and fireworks in Albert Park. This is a hand made item to commemorate the occasion. This item has local historical, artistic and social significance as it relates to a major event in the history of the city.Crocheted rectangular with angled corners, doyley with Warrnambool centenary 1847- 1947 worked in pattern in centre of piece. Cream linen.Warrnambool 1847 Centenary 1947warrnambool, warrnambool centenary , warrnambool centenary 1947, centenary doyley 1947,

Picture of un-named workmen and Mr. and Mrs. Wright (later toll-keepers) inspecting work at Devil's Elbow. G.O.R g.o.r, devil's-elbow: toll-keepers: mr.& mrs.-wright

Copies of this calendar were distributed to households in the Shire of Diamond Valley. This 1994 Calendar features images of artwork acquired by the Shire. Includes a Guide to services provided by Shire of Diamond Valley. The Shire of Diamond Valley was a Local Government Area located about 20 kilometres northeast of Melbourne. The shire covered an area of 74.38 square kilometres and existed from 1964 until 1994.The annual calendar is a record of the activities and services in the former Shire of Diamond Valley.28 page calendar illustrated with images of art work, with 16 page liftout "Shire of Diamond Valley Resource Guide"shire of diamond valley, shire of diamond valley calendar

Displayed at History House. Item cleaned and starched by Anne Grant in 1993.White cotton and lace. Delicate stitch and cut-out work at hem and bottom third of gown and bodice. Capped sleeves.

From the trousseau of Lynn, Sam (Mrs). Samuel Lynn (1865-1949) was a farmer and grazier at Jarrahmond. Bred Clydesdales.This item has aesthetic significance as an example of a hand-made item of the early 20th century.Lace worked tea cosy with thick wadding to help preserve heat. White thread on white linen with silk lining.tea-cosy handcrafts lacemaking trousseau lynn-sam

The construction of the outdoor swimming pool at Orbost was a community driven project.The opening of the Orbost Swimming Pool was a significant event in Orbost's development. The construction of the pool was community driven and the swimming club played a crucial role in helping young people learn about water safety away from rivers.Twenty-four black / white photographs, with white borders, showing construction work of an outdoor swimming pool in a town area.orbost-swimming-pool

This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily, white round crocheted work with flower motif in centre and scalloped edge. From the Chamberlain Dale Lees Collection. flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, doily, needlework, crochet, handmade, craft, manchester, linen, haberdashery

History of the Loch Ard: The Loch Ard got it’s name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic.The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the 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 and a lookout 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 towards land. 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 the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. 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 subsequently broke over the ship and the top deck became 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 a passenger had raced onto the 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 the 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 complete state of exhaustion, he told the men of the tragedy. Tom then 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 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 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 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 items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. 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 artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Brass gas light tap fitting has fancy metal work at the end. Recovered from the Loch Ard wreck. Noneflagstaff 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, gas tap, brass gas tap

Early settlers in Moorabbin Shire were accomplished with needlework and crochet and made their own clothes and accessories. These Silk Scarf and Shawl are examples of the evening wear women made. Lady's Silk Scarf and Shawl are examples of the skilled needlework and craftwork of the women of the early settler families in Moorabbin Shire Lady's cream silk scarf with needle work flowers and loosely plaited fringed and a white voile shawl with lace edging. dressmaking, craftwork, lacework, needlework, early settlers, pioneers, market gardeners, moorabbin, bentleigh, cheltenham,moorabbin shire,