This table spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This table spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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 Unrestored table spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 40% of original plate remains. Some verdigris and concretion on front of spoon. Balance covered in Silver Oxide. Outlines of five makers marks are visible - Crown, Ellipse, Rounded Square, Circle, Diamond - but details are illegible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoon, spoon

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 10% of surface area is encrusted sediment and 10% displays aqua-marine coloured oxidation. Five impressions are visible on back of handle but only discernible makers mark is (4) fleur de lys. flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co., birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. The stem is bent and the bowl is cracked and corroded. Approximately 40% of the original plate remains. No makers marks are legible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of surface area is covered with sediment (collar and stem) and 30% of original plate remains. The outlines of five makers marks are visible - Crown, Small circle, Rounded square, Circle, Diamond - but details are obscured.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original plate remains, with 10% verdigris, and 10% sedimentary concretion on top of handle. No makers marks are visible.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, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl is bent and handle is corroded. Approximately 15% of original plate remains. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Concretion on bowl and collar.Some 25% verdigris on spoon. Handle corroded and bent slightly. Perished rubber band attached. One of five makers marks on lower rear of spoon handle is legible - (2) Plain cross mounted on inverted triangle (religious motif).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, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal.The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A large crucible, or fluxing pot, for heating and pouring molten metal. It was recovered from the wreck of the LOCH ARD. The clay fired vessel rises from circular flat base to a larger rim with pouring lip. It is stained a rust colour and bears some sedimentary accretion. Half of its loose fitting lid with central knob has also survived. Markings on the artefact indicate it is a Morgan’s crucible, made with graphite to prevent cracking in the furnace and provide a smooth (non-adhesive) inner surface. On base: “…RGAN’S PATENT CRUCIBLE”. On rim: “MORGAN’S PATENT P…” Below top edge "BAK"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgans crucible company, loch ard, fluxing pot, crucible

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

These letters were received by Henry James of Orbost. Henry James (1860-1932) was a well-known identity in the Orbost district. He was a stock agent and auctioneer who helped to establish the seed bean industry in Orbost. He was the second secretary of the Snowy River Shipping Co. as well as a shire councillor and prominent member of MUIOOF. They concern a fund established to raise money to bring the three sons of Jennings Carmichael to Australia. A committee established by Henry Gyles Turner, a a notable Australian banker and historian, was formed to raise funds to bring the boys to Australia. Grace Elizabeth Jennings Carmichael (1867-1904), poet and nurse, was born on 24 February 1867 at Ballarat, Victoria, daughter of Archibald Carmichael, a miner from Perthshire, Scotland, and his wife Margaret Jennings, née Clark, from Cornwall, England. . She was educated at Melbourne and while still a child went to live on a station at Orbost, and grew up close to the bush she came to love so much. In 1888 she went to Melbourne to be trained as a nurse at the Royal Children's Hospital, Melbourne, and in 1891 published a small volume of prose sketches, Hospital Children. Having qualified she obtained a position on a station near Geelong, and subsequently married Francis Mullis. She contributed verse to the Australasian, and in 1895 Poems by Jennings Carmichael was published. She lived for a time in South Australia and then went to London, where she died in poor circumstances in 1904. Her husband, Henry Mullis, was last recorded in the workhouse in Woolrich, but then disappeared leaving the three children- Geoffrey 7 yrs, (Thomas) Clive 5 yrs & 4 year old (Archibald) Keith and one year old (Rupert) Wyatt, destitute & were sent to the Northampton workhouse, (Thomas ) Clive dying in 1906. In 1910, a group of Carmichael's admirers, discovered the whereabouts of her children, where a public fund was established to bring the children to Australia, the Victorian Government giving them free passage, arriving in Victoria in October of 1910. The children were placed in private homes and took on their mother's single name of Carmichael. In 1910 a small selection of her poems was published, in 1937 a plaque to her memory was unveiled at Orbost in the Mechanics Institute ( reg. 554), and a year later a replica was placed in the public library at Ballarat. Two of Jennings Carmichael's sons were present at the ceremony.Jennings Carmichael, a leading Australian poet spent much of her childhood in Orbost.Several letter written to H. James concerning the Jennings Carmichael Children's Fund. Stapled to one letter is a typed article about the Jennings Carmichael Children's Fund written by Frank a. Russell. The other letter is a three page stapled handwritten letter from St Oswald's, Ormond College, seeking information about Jennings Carmichael.james-henry jennings-carmichael correspondence

These images were hung in the corridor of the University of Ballarat School of Education (Mount Helen). It most probably dates from around the time of the transfer of the College. The Ballarat Teachers' College was established after the Victorian State Government and the State Education Department decided to establish two provincial teachers' colleges, at Ballarat and Bendigo. On 04 May 1926 W.H. Ellwood (Principal), Miss A. Bouchier, and Mr A.B. Jones, welcomed the first enrolment of 61 students to undertake the one year course. In 1927 the College moved to the former Ballarat East Town Hall in Barkly Street, which was remodelled for their use. It closed in December 1931 due to the Great Depression. In 1946 Ballarat Teachers' College reopened and relocated to the Dana Street State School. The building used by the Teachers' College was the original bluestone building facing Doveton Street South. It was originally planned to open as a women's college, for whom the residence at 130 Victoria Street was purchased, but the decision was made to admit resident men from Ballarat. Mr T.W. Turner was appointed as Principal in 1951 and directed the introduction of a two year course for the Trained Primary Teachers' Certificate. The former one year course was terminated at the end of 1951. In 1958 the College was relocated to a custom built facility at Gillies Street, in close proximity to the Ballarat Botanical Gardens. Numbers increased with the introduction of the Trained Infant Teachers' Certificate course under the guidance of Mary Egan. With the introduction of a three year Diploma Course in 1968 accommodation became cramped. The introduction of the Diploma of Teaching (Primary) led to the Trained Infant Teachers' Certificate being discontinued in 1969, and the end of the Trained Primary Teachers' Certificate in 1969. Secondary Art and Craft students began studies at Ballarat Teachers' College in 1969 under Mr Ted Doney. In 1971 Mr D. Watson was appointed Principal. The State College of Victoria was proclaimed by Order in Council on 24 July 1973, and Ballarat Teachers' College became a constituent college of the State College of Victoria, and was known as State College of Victoria, Ballarat. By 1975 the College moved to Mount Helen as part of the Ballarat College of Advanced Education. Pre service teachers currently undertake their studies on the Mount Helen Campus of Federation University. ("Ruffians Attempted to Carry of the School Tent: A History of State Education in Ballarat", 1974, p73-4.) Framed black and white photograph of: .1) the former Ballarat East Town Hall .2) the old Dana Street Primary School during the era it was used as the Ballarat Teachers' College. The photographed is surrounded by a green matboard. .3) Ballarat Teachers' College, Gillies Street.Plaque under photo "Ballarat Teachers' College Doveton Street 1926, 1946-1957 (Part of Dana Street Primary School No. 33)ballaratteachers college, dana street primary school, teacher education, 00607

These images were hung in the corridor of the University of Ballarat School of Education (Mount Helen). It most probably dates from around the time of the transfer of the College. The Ballarat Teachers' College was established after the Victorian State Government and the State Education Department decided to establish two provincial teachers' colleges, at Ballarat and Bendigo. On 04 May 1926 W.H. Ellwood (Principal), Miss A. Bouchier, and Mr A.B. Jones, welcomed the first enrolment of 61 students to undertake the one year course. In 1927 the College moved to the former Ballarat East Town Hall in Barkly Street, which was remodelled for their use. It closed in December 1931 due to the Great Depression. In 1946 Ballarat Teachers' College reopened and relocated to the Dana Street State School. The building used by the Teachers' College was the original bluestone building facing Doveton Street South. It was originally planned to open as a women's college, for whom the residence at 130 Victoria Street was purchased, but the decision was made to admit resident men from Ballarat. Mr T.W. Turner was appointed as Principal in 1951 and directed the introduction of a two year course for the Trained Primary Teachers' Certificate. The former one year course was terminated at the end of 1951. In 1958 the College was relocated to a custom built facility at Gillies Street, in close proximity to the Ballarat Botanical Gardens. Numbers increased with the introduction of the Trained Infant Teachers' Certificate course under the guidance of Mary Egan. With the introduction of a three year Diploma Course in 1968 accommodation became cramped. The introduction of the Diploma of Teaching (Primary) led to the Trained Infant Teachers' Certificate being discontinued in 1969, and the end of the Trained Primary Teachers' Certificate in 1969. Secondary Art and Craft students began studies at Ballarat Teachers' College in 1969 under Mr Ted Doney. In 1971 Mr D. Watson was appointed Principal. The State College of Victoria was proclaimed by Order in Council on 24 July 1973, and Ballarat Teachers' College became a constituent college of the State College of Victoria, and was known as State College of Victoria, Ballarat. By 1975 the College moved to Mount Helen as part of the Ballarat College of Advanced Education. Pre service teachers currently undertake their studies on the Mount Helen Campus of Federation University. ("Ruffians Attempted to Carry of the School Tent: A History of State Education in Ballarat", 1974, p73-4.)Three photographs of the Ballarat Teachers' College, all at different locaitons. .1) Dana Street Primary School (State School) .2) Barkly Street - former Ballarat East Town Hall .3) Gillies StreetBrass plaque on each framed photograph .1) Ballarat Teachers' College Doveton Street 1926, 1946-1957 (Part of Dana Street Primary School No. 33) .2) Ballarat Teachers' College Barkly Street 1927-1931 (Formerly Ballarat East Town Hall) .3) Ballarat Teachers' College State College of Victoria at Ballarat Gillies Street 1958-1976ballarat teachers' college, dana street primary school, ballarat east library, gillies street, state college of victoria, state college of victoria at ballarat

The locomotive was supplied new by Decauville to the Metropolitan Gas Company Ltd, Melbourne, for use at their gasworks in West Melbourne, where it was named Carbon suppied in 1889 (Couillet builder's number 986, Decauville serial number 90). It was named Carbon. The West Melbourne gas works sourced its coal from Maitland, New South Wales, and the coal was brought by ship to a wharf adjacent to the West Melbourne gas plant. John Benn and Carbon were used to haul the coal over a 762 mm (2 ft 6 in) gauge railway from the wharf to the gasworks, a distance of about 450 metres (500 yards). West Melbourne Gas Works No. "Carbon" Wheels: 0-4-0T Builder: Couillet Build Date: 1890 Construction No.: 986 Empty Weight: Unknown Weight on Drivers: Unknown Driver Diameter: Unknown Tractive Effort: Unknown Boiler Pressure: Unknown Cylinders: Unknown Fuel: Coal Gauge: 30 Decauville locomotives The firm Société Anonyme Decauville located at Petit Bourg, France, was founded to manufacture light railways pioneered by French farmer Paul Decauville to transport crops from the field in 1875. Decauville began designing their own locomotives in 1882, although initially manufacture was contracted out to other builders, notably the Belgian firm Hainault at Couillet Although not well known in Australia, in Europe Couillet was a significant builder of steam locomotives of many different gauges and sizes over a long period of time. The locomotive was supplied new by Decauville to the Metropolitan Gas Company Ltd, Melbourne, for use at their gasworks in West Melbourne, where it was named Carbon (986) . Carbon ( 986 ) The locomotive weighs approximately seven tons. It has the Couillet builder's number 986. of 1889 It was built for Decauville & Cie. of Paris, suppliers of portable and industrial railway equipment, and has their serial number of 90 of 1890. Built in 1889 for the West Melbourne site of the Metropolitan Gas Company, it is a four-wheel tank locomotive and was named “Carbon”. It was withdrawn from service in the 1930s and stored until sold privately in 1962. For a few years in the 1960s it was used on a circle of track at Walhalla, before going to the Whistle Stop Amusement Park in Frankston. Although a number of similar locomotives still exist, as far as is known Carbon is the only one still operating in its original condition. Historic - Industrial railways - Metropolitan Gas Company Ltd, Melbourne Steam Locomotive Small Decauville Couillet Steam locomotive. - Iron & wrought iron framesCouillet builder's number 986, Decauville serial number 90puffing billy, narrow gauge, industrial narrow gauge railway, couillet 986, decauville 90, steam locomotive, metropolitan gas company, carbon

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The floral motif on this particular spoon appears to be stylised in the decorative arts and craft style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. This spoon seems more likely to have been produced in Europe and imported to the colony. The hallmarks on the handle DON and BP indicate it may have been produced from English electroplating silver which is a more cost effective product than solid silver, most likely produced by Cooper Brothers, Don Plate Works, established in Sheffield in 1866 who distributed silverware in Europe, America and the colonies well into the 1950's.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food and he did it from a beautiful silver floral detailed spoon.A silver tablespoon with floral embossed head and hallmarks embossed on reverse handleDON/ BP/silverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Framed and titled black and white photograph taken on the occasion of a visit by members of the Kew Elder Citizens Club to Lyons "Mountain Grand" Warburton, in February 1978.community groups -- kew (vic.), senior citizens clubs -- kew (vic), club tours

Thomas Henry Deakin (1845-1915), born in Monmouthshire, Wales and his wife Janet (Jessie) Longmore (1851-1939), born in Morayshire, Scotland had 2 sons: John Henry (1879-1962) and William Andrew (1883-1939) and 4 surviving daughters. A fifth daughter Daisy Jessie was born in 1880 and died the same year at the age of 7 months. Elsie Longmore Deakin (1881-1969) was a nurse and remained single; Minnie Winifred (1886-1966) married Charles Williamson in 1923; Lily Vipond (1890-1943) married David Mair in 1910 and Jessie Alice, known as Alice, married Hector Williamson in 1921. Hector and Charles were brothers. LtoR: William Andrew (seated), Elsie Longmore (standing), Janet (Jessie) Mair nee Longmore (seated), Jessie Alice (standing beside her mother), John Henry (standing), Thomas Henry (seated), Minnie Winifred (standing), Lily Vipond (seated). Elsie Longmore Deakin enlisted AANS aged 35 years in 10 May 1915; embarked on the Mooltan on 22 August 1916. Address : 114 Station Street, Fairfield, Next of kin : mother, Mrs Janet Deakin (nee Longmore), 114 Station Street, Fairfield, father, Thomas Henry Deakin Elsie Deakin enlisted at 35 years of age on 10 May, 1915 and served locally before volunteering for overseas duty on 9 August, 1916. Her three years of training were completed at the Melbourne General Hospital. She embarked with the rank of Sister for India and was appointed to the Victoria Hospital, Bombay. In January, 1917, when she was transferred to England and a Military Hospital at Bagthorpe later to the 1 Australian Auxiliary Hospital, and in January of the following years to 25 (British) GH in France but returned a few weeks later to England and the 1 AAH after suffering a seriously strained left ankle. She returned to France post-war and served another four months before being returned to Australia in May, 1919. Her appointment was terminated as medically unfit on 9 June, 1919. Born South Melbourne, she died in Elsternwick on 14 October, 1969, aged 87. (REF: http://www.ozsportshistory.com/wardeaths/women_a_e.html) There is a photo of her in uniform on this site and also on http://ww1nurses.gravesecrets.net/de.html This is part of a large donation relating to the Deakin, Mair and Young families.The connection with Surrey Hills area is through Lily Vipond Deakin who married David Miller Mair and came to live in Mont Albert.A sepia copy photo of a family in a formal pose taken against a studio backdrop. The group comprises a mother and father with 2 boys and 4 girls. The 3 older girls are carrying - REAR: In blue biro - "Top HENRY ...............GRANDFATHER.....ALF / ANDREW .......Thomas Henry (crossed out) ..........MOTHER - JANET / DEAKIN" Middle: "ELSie minnie Lily" Below: "ALICE FRONT" Bottom: "LONGMORE"xelsie longmore deakin, minnie winifred deakin, minnie winifred williamson, lily vipond deakin, lily vipond mair, jessie alice deakin, alice deakin, jessie alice williamson, alice williamson, william andrew deakin, janet (jessie) longmore, janet (jessie) deakin, thomas henry deakin, john henry deakin

The photo is of a painting of the dam formed on land between Grovedale Road and James Street, Surrey Hills. It was painted in 1927 by Miss Muriel Pornitz, an art teacher, who lived in Grovedale Road. The land had been part of Mr James Maling Snr’s property and in the 1880s clay was removed to build houses, including his own located on the corner of Weybridge and James Streets. Maling grazed cattle on this area and used it as a dam. The land was subsequently made into parkland, the quarry / dam having been filled in after several drownings had occurred in the 1920s/1930s. See also SHP94, another copy of the same. Muriel Hedwig Lucy Pornitz lived at 22 Grovedale Road, Surrey Hills. She was born c1894 in Balwyn; died in Kew on 1 December 1982. She was the daughter of Konrad Pornitz (1864-1903) and his wife Charlotte Richardson Gooderidge (1863-1942), known as Tottie, who married in 1890. Konrad Pornitz is listed in the 1892 directory as living in Edgevale Road, Kew and the business Pornitz and Ross at 291 & 293 Little Collins Street, importers and commission merchants. The 1896 directory gives the Kew address as 176 Edgevale Road, Kew, however the business Pornitz and Ross was dissolved on 1st day of October 1892, by mutual agreement. Legal notice advised that: Mr Pornitz will hereafter carry on the business on his own behalf at the same address, under the style "Pornitz and Ross". Muriel is buried in Box Hill Cemetery (B-086-0042) along with Ulrich Horst Holm Pornitz known as Horst or Bon (d 1957) and Edith Olga Pornitz (d 1951), her brother and sister. A further sibling (Konrad b 1891) died in infancy. He is buried with his mother in Boroondara (Kew) Cemetery - C/E A 0366. Konrad died at his home 'Yarran' in Lane Cove Road, North Sydney on 31 October 1903; reported in the Sydney Morning Herald. Buried Gore Hill Cemetery, St Leonards, North Sydney. The headstone reveals he was born in Chemnitz, Saxony in 1863. Muriel was also known as Muriel Pornett. She studied at the South Australian School of Arts & Crafts in 1911 under James Ashton and Fred Britton, and at the Australian School of Etching in Sydney. She was also an illustrator and cartoonist. The photo, and the painting from which it is derived, documents the landscape prior to close settlement and is material to early building and farming in the Surrey Hills area.A black and white photograph of a painting of a landscape of parkland. Two trees are on top of a rise and are reflected at the bottom in water. The signature of the artist is in the bottom right corner: "AUST MP 192" (and the rest is cut off).(miss) muriel pornitz, grovedale road, james street, surrey hills, artists, parks and reserves, (mr) john butler maling, snr, quarry, dam, (miss) muriel hedwig lucy pornitz, box hill cemetery, muriel pornett

Ferris Road–Ferris Lane family farm of John and Elizabeth Ferris until 1939, until daughter Marion married Thomas Linsday Barrie. Marion Elizabeth nee Ferris born 29th of August 1914 -died 5th of June 1990 SUMMARY - Thomas Lindsay Barrie 1914 – 1990 A life long resident of Melton Son of Jessie and Charles Ernest Barrie of Darlingsford Melton Married Marion Ferris at Christ Church Melton on 11th May 1939. They lived on the family farm at Ferris Road Melton. They had one son, Ian who has continued in farming in Melton. He served the community in the following – Shire of Melton Councillor Member for 32 years 1941 – 1970 Elected as Councillor for Melton South 1970 – 1973 Councillor for Rockbank 1943 – 1944 Shire President for three terms 1958 – 1959 ditto 1964 – 1965 ditto Council Representative: Bacchus Marsh High School and Western Suburbs Municipalities. Representative on delegation to prevent Melton post primary students being sent to Deer Park prior to the establishment of Melton High School. Melton Bush Fire Brigade 1941 Member Melton Bush Fire Brigade Registered No. 425 1942 1942 2nd Lieutenant 1943 – 1944 4th Lieutenant Country Fire Authority Rural Services Award 1963 20 Years Long Service Badge Scots Presbyterian Church Melton Member of the Board of Management 1947 – 1969 information from Annual Reports note more research needed at Uniting Church Archives Tom farmed the family property with his father and brothers, and later the Ferris Road property which continued with his son Ian. His childhood interest in horses began with the draft horses kept at the bluestone stable and barn at Darlingsford. When the stables were empty in the late 1980s visit, he vividly recalled the names of the horses he had handled in his youth. When the draft horse became obsolete with the introduction of tractors and trucks this interest continued with the breeding and training of harness racers. Darlingsford Drafts and Ponies. Order of Stalls Clydesdales – Dick, Dolly, Flower, Nugget, Blossom, Lofty, Prince. Roger, Rose, Violet, Don, Beauty, Baldy, Diamond. Cart and Mounts Creamy, Digger, Popsy Couple at Francis McGregor Barrie and Linda Willaton's wedding at Sunshine Methodist Church 20th April 1935?local identities

The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. Between 1916 and 1933 there were a variety of licensees. In October 1933, the stables and garage at the rear of the Terminus Hotel were totally destroyed by fire. In 1935, the Terminus again underwent a series of improvements and extensions at the cost of £3,000. The front of the premises was extended in the fashionable Spanish mission style. The balcony of brick and concrete was extended to be 18 feet wide, wire gauged and fitted with glass slides and a tile roof. In addition to 15 new bedrooms, four more bathrooms, making seven in all, were available for patrons. These were on the second floor, while beneath them provision was made for four shops and a new kitchen and a laundry. Throughout the 1930s and 1990s the licensee and owners changed several times. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.Oldest available photo of the Terminus Hotel beside Peter McLean's Wholesale and Family Drapers General Store. These buildings were on the west side of Sydney Road, later renamed to High Street.hotels wodonga, businesses wodonga, terminus hotel wodonga

The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. Between 1916 and 1933 there were a variety of licensees. In October 1933, the stables and garage at the rear of the Terminus Hotel were totally destroyed by fire. In 1935, the Terminus again underwent a series of improvements and extensions at the cost of £3,000. The front of the premises was extended in the fashionable Spanish mission style. The balcony of brick and concrete was extended to be 18 feet wide, wire gauged and fitted with glass slides and a tile roof. In addition to 15 new bedrooms, four more bathrooms, making seven in all, were available for patrons. These were on the second floor, while beneath them provision was made for four shops and a new kitchen and a laundry. Throughout the 1930s and 1990s the licensee and owners changed several times. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.Allen's Terminus Hotel in Main Street (known as Sydney Road and later High Street, Wodonga). This image is dated as November 1906, however research suggests the hotel was operated by the Carkeek family and then and also Mr. Daniel Crawford prior to this date. The Terminus was sold by auction on 5th March 1909 as part the estate of Annie Haldon. Annie Allen had married John George Haldon in 1890.Across front of building "ALLENS TERMINUS HOTEL"hotels wodonga, businesses wodonga, terminus hotel wodonga

The Arthurs Creek Cemetery was originally the private cemetery of pioneers Agnes and Patrick Reid. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p11 The Hazel Glen property, at Middle Hut Road, Arthurs Creek, which includes one of Victoria’s earliest pioneer buildings, was the forerunner to the Arthurs Creek and Doreen townships. At one time the Doreen Post Office and school were called Hazel Glen. The Hazel Glen State School No 945, before it was moved to its present site, stood on land to the south of Chapel Lane, which had been donated by Hazel Glen owner, William Reid. In May 1895 the post office was renamed Doreen to avoid confusion with the Reid’s address. The Arthurs Creek Cemetery was originally the private cemetery of Hazel Glen pioneers Agnes and Patrick Reid. The Reids with their eight children, arrived in Melbourne in April 1839. In 1844 Patrick Reid took over the licence to the Stewart Ponds run of 5120 acres (2072ha). Reid renamed it Hazel Glen, after Hazelden, the name of the Reid estate at Mearns in Renfrewshire, Scotland. Reid built a small cottage from local stone and hand-made bricks, with walls one yard (91 cm) thick, a flagstone floor and a shingle roof. Today two rooms and a store room survive as part of a larger house. Agnes died in 1847 aged 49, and was buried on a hill overlooking Hazel Glen, where it is said she had asked to be buried as it had been a favourite picnic spot.2 In 1858 Patrick died aged 74, and was buried near her. Their son William was to become Whittlesea Shire’s first president. From 1868 he was a Whittlesea Roads Board member, then a shire councillor until shortly before his death in 1923 aged 88. In 1865 the Reid’s burial area was no longer on their property, so it was declared a cemetery site. In 1867 it became the Linton Public Cemetery, being in the Linton Parish. However, to avoid confusion with Linton near Ballarat, the cemetery was renamed the Arthurs Creek Public Cemetery in 1926. Arthurs Creek was named after Henry Arthur, a pastoralist and public servant, who ran 1000 sheep lower down the Creek, from 1836 to 1841. It is believed he built his home at the end of today’s Challenger Street in Diamond Creek.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. agnes reid, arthurs creek cemetery, nillumbik now and then (marshall-king) collection, patrick reid, reid family

This photograph shows bidding underway for the million dollar bale in the Sale Room on the 11th January, 1995 at the National Wool Centre, Geelong. People depicted include Sale Team Baxter Murray, Auctioneer Michael Crooks and Wool Manager Keith Jackson. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing an interior view of people seated at rows of tables with an auctioneers stand at front of the room.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room

This photograph shows Growers Ian Appledore, Kaye Appledore and Murray Appledore, Wool Manager Keith Jackson, Wool Classer Phillip Gibson, Geoff Allibon and Brendan Dart posing with the million dollar bale after it was sold on 11th January 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing three six men and one woman standing around a bale of wool.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

Contains 184 images of postcards and photographs collected primarily by Vic Solomons of Sydney, with others from the collection of Wal Jack and Warren Doubleday. Covers almost all of Australia's tramway systems. 1 Post Card Hay St Perth Looking East No 3 Unknown Perth 2 Post Card Cars 30 & 90 both on Route 19 pass in Barrack St looking South Perth WA 1935.02.18 Perth 3 Post Card Hay St Looking East Perth WA Unknown Perth 4 Post Card William St Perth WA Unknown Perth 5 Post Card Perth from Shaftsbury Hotel Unknown Perth 6 Post Card Hay St Perth WA Looking East Unknown Perth 7 Post Card Barrack St Perth Unknown Perth 8 Post Card Murray Views No 3 High St Showing Town Hall Fremantle WA Unknown Fremantle 9 Post Card High St Fremantle WA Unknown Fremantle 10 Post Card View of Bolder City Golden Mile in the Background (Section No 1) 1908.08.20 Kalgoolie 11 Post Card Hannan St Kalgoolie 1900.08.19 Kalgoolie 12 Post Card Hannan St Kalgoolie WA (No 2) Unknown Kalgoolie 13 Post Card Intersection Hannan & Maritana Sts Kalgoolie WA Unknown Kalgoolie 14 Post Card Hannan St Kalgoolie Unknown Kalgoolie 15 Post Card Lane Street Bolder City Unknown Kalgoolie 16 Post Card Hobart Double Deck Tram Unknown Hobart 17 Post Card Macquarie St Hobart Unknown Hobart 18 Photo Liverpool Street Hobart Unknown Hobart 19 Photo Hobart 21 Unknown Hobart 20 Photo Hobart 14 in Elizabeth St Hobart Unknown Hobart 21 Post Card Macquarie St Hobart Unknown Hobart 22 Post Card Macquarie St Hobart Tas Unknown Hobart 23 Photo Double Decker Tram 3 at G.P.O. Hobart Tas No 31 Unknown Hobart 24 Post Card Double Decker Tram 19 Hobart Tas A B Series No 24 Unknown Hobart 25 Photo Hobart Municipal Tramways Tas No 95 Unknown Hobart 26 Post Card Elizabeth St Hobart Unknown Hobart 27 Post Card Elizabeth St Hobart Unknown Hobart 28 Post Card Elizabeth St Hobart Unknown Hobart 29 Post Card Elizabeth St Hobart Tas Unknown Hobart 30 Post Card HMT 21 with crew at Beach Road Terminus Unknown Hobart 31 Post Card HMT 9 & another with crew at Beach Road Terminus. Front cover photo of Destination GPO 1921.01.00 Hobart 32 Post Card Cascade Road and Mount Wellington Hobart Unknown Hobart 33 Post Card Elizabeth St Hobart Unknown Hobart 34 Post Card Elizabeth St Hobart Unknown Hobart 35 Post Card Elizabeth St Hobart 1915.04.07 Hobart 36 Post Card Macquarie St Hobart Tas Unknown Hobart 37 Post Card Macquarie St showing Post Office Hobart 1908.03.12 Hobart 38 Post Card Hobart Municipal Tramways 21 Unknown Hobart 39 Post Card Elizabeth St Hobart Tas Unknown Hobart 40 Post Card Liverpool Street Hobart Unknown Hobart 41 Post Card Electric Tram Launceston Tas 446 W J Little Photo 1919.02.08 Launbceston 42 Post Card Launceston Tram no 3 1911.08.30 Launbceston 43 Post Card Launceston Tram no 3 passes tram No 1 Unknown Launbceston 44 Post Card Tram 6 at Trevallyn a popular suburb Launceston Tasmania Unknown Launbceston 45 Post Card Tram 7 at Trevallyn Road Terminus Launceston Tasmania Unknown Launbceston 46 Post Card Tram 4 in Brisbane St Launceston Unknown Launbceston 47 Post Card Tram 9 in Brisbane St Launceston Tasmania Unknown Launbceston 48 Post Card Camerom Street Launceston Tasmania Unknown Launbceston 49 Post Card Murray Views No 15 Jetty Road Glenelg Terminus 1962-02-08 Adelaide 50 Post Card Bay Tram at Jetty Road Terminus Glenelg SA Unknown Adelaide 51 Post Card Tram 3 in King William Street Adelaide S Aust Unknown Adelaide 52 Post Card Valentine Series No 3065 The Old Horse Tram Victor Harbour Unknown Victor Harbour 53 Post Card Bourke Street Melbourne with Cable Car Looking East 1904.04.25 Melbourne 54 Post Card Opening of New Electric Tramway Elsternwick 1913-11-13 Melbourne 55 Post Card Cable trams in Clarendon St Sth Melb Unknown Melbourne 56 Post Card Pall Mall from Charing Cross Bendigo Unknown Bendigo 57 Post Card Tram 4 & 7 pass at The Fountain and Mitchell Street Bendigo Vic Rose Series P 3198 Unknown Bendigo 58 Post Card M&MTB 133 at Charing Cross bound for Eaglehawk Bendigo Vic Murray Views No 45 Unknown Bendigo 59 Post Card Pall Mall Bendigo Vic Unknown Bendigo 60 Post Card Charing Cross & Mitchell St Bendigo Trams passing 1919.00.00 Bendigo 61 Post Card Pall Mall Looking East Unknown Bendigo 62 Post Card Electric Trams and City Hotel Bendigo Vic Unknown Bendigo 63 Post Card Moorabool Street Geelong V 23 Unknown Geelong 64 Post Card Murray Views No 3 Moorabool Street Geelong Vic Unknown Geelong 65 Post Card The Rose Series P 2487 Ryrie Street Geelong Vic Unknown Geelong 66 Post Card Southern Cross Series 2696 Ryrie Stret Geelong Vic Unknown Geelong 67 Post Card The Rose Series P 1490 Ryrie Street Geelong Vic 1920-03-04 Geelong 68 Post Card Valentine Series No 1568 Lower Sturt Street Ballarat Unknown Ballarat 69 Post Card Rose Series P 1710 Sturt Street Ballarat Victoria Unknown Ballarat 70 Post Card Sturt Street Ballarat Victoria Unknown Ballarat 71 Post Card Horse Tram In Sturt Street Ballarat 1905.11.10 Ballarat 72 Post Card Sturt Street Ballarat Looking North-West Unknown Ballarat 73 Post Card Shoppes Square Sturt Street Ballarat Looking North Unknown Ballarat 74 Post Card Junction Sturt and Lydiard Streets Ballarat 1909-09-01 Ballarat 75 Post Card The Electric Supply Co Souvenir Tram Ticket No 3085of the opening of Electric System August 18 1905 1905.08.18 Ballarat 76 Post Card Sturt Street Ballarat Victoria 1907.11.25 Ballarat 77 Post Card Off to the Gardens Electric Tram Ballarat Unknown Ballarat 78 Post Card Sturt Street Ballarat 1907.04.16 Ballarat 79 Post Card Sturt Street Ballarat Looking East Electric tram with Double Deck Trailer 1911.04.17 Ballarat 80 Post Card Sturt Street Ballarat Looking East Unknown Ballarat 81 Post Card Sturt Street Ballarat Looking West 1911.03.01 Ballarat 82 Post Card Town Hall and Sturt Street Ballarat Unknown Ballarat 83 Post Card Lydiard Street Ballarat 1906.11.23 Ballarat 84 Post Card Looking North along Adelaide Street from George Street Brisbane Sidues Series No 764 Unknown Brisbane 85 Post Card Looking South along Queen Street from the Creek Street Intersection Brisbane Qld Sirues Series No 1379 Unknown Brisbane 86 Post Card George Street from near Supreme Court Brisbane Unknown Brisbane 87 Post Card Queen and Eagle Streets Brisbane 1907.07.04 Brisbane 88 Post Card Queen Street showing His Majesty’s Theatre Brisbane Unknown Brisbane 89 Post Card Queen Street Treasury Building 1908.01.20 Brisbane 90 Post Card G P O and Queen Street Brisbane Unknown Brisbane 91 Post Card Queen Street Brisbane Looking from Wharf Street Unknown Brisbane 92 Post Card Customs House Brisbane 1905.02.16 Brisbane 93 Post Card Queen St Brisbane 1905.09.16 Brisbane 94 Post Card Queen St Brisbane 1907.11.19 Brisbane 95 Post Card Treasury Buildings Brisbane Unknown Brisbane 96 Post Card Queen and Eagle Streets Brisbane Unknown Brisbane 97 Post Card The Valley Corner Brisbane Unknown Brisbane 98 Post Card Brisbane Queen Street opposite General Post Office Unknown Brisbane 99 Post Card North Quay and Milton Beach Brisbane Q Unknown Brisbane 100 Post Card Victoria Bridge Brisbane South Side 1907.08.14 Brisbane 101 Post Card Victoria Bridge Brisbane Unknown Brisbane 102 Post Card Breakfast Creek Bridge Brisbane Q Unknown Brisbane 103 Post Card Melbourne Street Station South Brisbane Queensland Unknown Brisbane 104 Post Card General Post Office Queen Street Brisbane 1955.09.23 Brisbane 105 Post Card Customs House Brisbane 1904.11.04 Brisbane 106 Post Card Queen St Brisbane 1919.11.00 Brisbane 107 Post Card Queen St Brisbane Sidues Series No 627 Unknown Brisbane 108 Post Card Creek Street Brisbane Queensland Unknown Brisbane 109 Post Card Customs House and Garden Reach Brisbane Queensland 1910.00.08 Brisbane 110 Post Card Queen and Creek Streets Brisbane 1909.06.07 Brisbane 111 Post Card Queensland National Bank andd Queen Street Brisbane Queensland Unknown Brisbane 112 Post Card Queen Street and Treasury Buildings Brisbane 0000.09.07 Brisbane 113 Post Card Queen Street showing “Courier” Buildings Brisbane Unknown Brisbane 114 Post Card Intersection George & Roma Streets Brisbane Q 1916.05.11 Brisbane 115 Post Card Adelaide Street Brisbane Q Unknown Brisbane 116 Post Card G P O Queen Street Brisbane Q Unknown Brisbane 117 Post Card Treasury Building Brisbane 1906.03-20 Brisbane 118 Post Card Queen and Eagle Streets Brisbane 1907.02.01 Brisbane 119 Post Card Queen St Brisbane Unknown Brisbane 120 Post Card Queen St Brisbane Q Unknown Brisbane 121 Post Card Victoria Bridge Brisbane 1906.07.30 Brisbane 122 Post Card An Unusual View showing Head of Queen Street Victoria Bridge & South SideSuburbs Brisbane Q Unknown Brisbane 123 Post Card Petries Bight Brisbane Q Unknown Brisbane 124 Post Card South End Victoria Bridge Brisbane Q Unknown Brisbane 125 Post Card Customs House Brisbane Unknown Brisbane 126 Post Card Photo of toastrack car circa 1910 Unknown Brisbane 127 Post Card Treasury Buildings Brisbane Unknown Brisbane 128 Post Card East Street Rockhampton with Steam Tram & trailer Unknown Rockhampton 129 Post Card Post Office Rockhampton with steam tram Unknown Rockhampton 130 Post Card East Street Rockhampton with Steam Trams Rose Series P 7154 Unknown Rockhampton 131 Post Card William Street Rockhampton Rose Series P 7156 Unknown Rockhampton 132 Post Card Central East Street Rockhampton Q with Steam Trams Unknown Rockhampton 133 Photo Sturt St Ballarat Unknown Ballarat 134 Photo Bridge Street Ballarat Unknown Ballarat 135 Post Card George St Sydney Unknown Sydney 136 Post Card Elizabeth St Sydney Unknown Sydney 137 Post Card Railway Square Unknown Sydney 138 Post Card Sydney Harbor Bridge - pending receipt 139 Post Card Kings Cross - Mowbray Series with description on rear from C Roy G Field Unknown Sydney 140 Post Card Kings Cross - Mowbray Series with description on rear from C Roy G Field Unknown Sydney 141 Post Card Central Railway Station Sydney - Rose Series P6033 1954-01-26 Sydney 142 Post card William Street Darlinghurst looking towards City - Rose Series P6602 unknown Sydney 143 Post Card Circular Quay Sydney - Rose Series P6680 Unknown Sydney 144 Post Card View at Manly NSW - Rose Series B1003 Unknown Sydney 145 Post Card Hunter St Newcastle NSW - Rose Series P7843 Unknown Newcastle 146 Post Card Bank Corner Newcastle NSW - Mowbray Series No. 155 Unknown Newcastle 147 Post Card Hunter St Newcastle NSW Unknown Newcastle 148 Post Card Criterion Hotel Hunter St Newcastle NSW Unknown Newcastle 149 Photo Horse tram at Newtown Station 1894 to 1898 - PTC photo c1894 Newtown 150 Photo Steam tram motor No 3 at Railway Square 1879 1879 Sydney 151 Photo Railway steam tram c1900 with a horse drawn double deck bus c1900 Sydney 152 Photo Steam motor 5A and doubled deck bus Unknown Sydney 153 Photo Steam motor 53A with detail notes on rear 1922 Sydney 154 Photo Cable tram set at Milsons Point ferry terminal c1900 Sydney 155 Photo Early Sydney electric car - Ocean St - Rose Bay Unknown Sydney 156 Photo George St looking souoth c1905 c1905 Sydney 157 Photo Tram 165 at Circular Quay Unknown Sydney 158 Photo Tramcar ferry or transporter at The Spit Unknown Sydney 159 Photo tram 882 George St at Marti Place, 1937 1937 Sydney 160 Photo Tram 826 Railway Sq area Unknown Sydney 161 Photo Railway Sq in background, Broadway with double decker bus and toastrack car late 1930s Sydney 162 Photo Coupled St Pitt St? - photo Ben Parle Feb. 1950 Sydney 163 Photo Electric tram No. 2 - North Sydney with side trolley pole running Unknown Sydney 164 Photo George St - Horden's Corner Unknown Sydney 165 Photo George St at Martin Place c1920 Sydney 166 Photo Castlereagh St Sydney c1928 c1928 Sydney 167 Photo Railway Sqare c1920 c1920 Sydney 168 Photo Darling St Countereweight Unknown Sydney 169 Photo Trolley bus depot Unknown Sydney 170 Photo Trolley bus No. 14 Unknown Sydney 171 Photo Newcastle Railway Station with steam tram - Wharf Road?? Unknown Newcastle 172 Photo High St West Maitland - steam tram Unknown Maitland 173 Photo High St West Maitland - steam tram Unknown Maitland 174 Post Card Argent St near tram terminal Broken Hill NSW c1900 Broken Hill 175 postcard Argent St looking south Broken Hill - with Ken Magor's notes on rear Unknown Broken Hill 176 Photo Toronto - steam tram 61A Unknown Toronto 177 Photo 124A trial run 1911? Sutherland - Cronulla line 1911 Sutherland 178 Photo 103A at a tram stop Unknown Sydney 179 Photo Cable tram set at Crows Nest terminus grip car 12, trailer 22 Unknown Sydney 180 Photo Cable tram Queens Square Sydney 1903 Sydney 181 Photo cars 2078 and 2077 Chatswood late 1950s Sydney 182 Photo car 1877 Balmain area late 1950s Sydney 183 Photo Trolley bus - Rockdale destination Late 1950s Sydney 184 Photo Broken Hill steam tram - motor 18A North Tram Unknown Broken Hill 185 Photo Millars Point Sydney NSW - ferry/tram interchange, unknown Sydney All items imaged including the rear or back where there was writing of information. All files stored on the Museum's Photo Collections directory. Demonstrates through the medium of many images, Australian tramway systems and Ballarat's place in them.Album - heavy card covers, plastic lined with postcard or 6x4 photo sleeves.australia, tramways, postcards, photographs, steam trams, horse trams, cable trams, trolley buses

"The hated Protector" tells for the first time the real story behind the extraordinary experiences of Charles Sievwright, Assistant Aboriginal Protector from 1839-42 in what was then part of the British colony of New South Wales, but is now the Western District of the Australian state of Victoria. Sievwright, an Edinburgh-born former British army officer, lived in the bush with his young family as he tried to save the Aborigines of the District from extinction. In doing so, he would isolate himself from the rest of his fellow whites. The hated Protector tells of this process. The book should appeal to anyone interested in British colonial and Australian history, particularly in the years of first contact between British settlers and the Aborigines. More broadly, it should also appeal to anyone interested a story of one man's battle against overwhelming odds, where the price of failure was numerous deaths. It is a story of hatred, prejudice, courage, determination, and hope. In telling Sievwright's story, Lindsey Arkley draws largely on original archival material, including official reports, journals and letters, found in Melbourne, Sydney, Hobart, Edinburgh and London. Most has never before been published. The archival material is supplemented by contemporary newspaper accounts, and some oral history. Full notes are given to all sources, and the book is indexed and lavishly illustrated with drawings by Joan Bognuda, as well as about 80 paintings and samples of documents. Contents: 1. In the bush 2. "Equal and indiscriminate justice" 3. "A few doses of lead" 4. "A curse to the land" 5. "The most unpopular man" 6. Retaliation 7. A hostage debate 8. Hallucinations 9. A mass escape 10. Possessors of the soil 11. Move to Keilambete 12. Bureaucratic 13. "A hideous pandemonium" 14. Divine visitations 15. Pay backs 16. Explanations 17. A squatter on trial 18. Claptrap and deceit 19. The black cap - 20. To Mt Rouse 21. "The impending evil" 22. In the balance 23. An arrest at Mt Rouse 24. A fair moral name 25. Roger's trial 16. Intensified evidence 27. A declaration of war 28. Mr Cold Morning 29. Holding ranks 30. To rags 31. Fightback 32. Return to London 33. The inquiry 34. Judgement 35. And what remains.maps, document reproductions, b&w photographs, colour photographs, b&w illustrationscharles wightman sievwright, racial policies, british colonial history, race relations, victorian history

Set of six destination indicator equipment that was fitted to Z, Z3 and B class trams. .1 - dot matrix type destination sign fitted to the side of a B class tram - set at Preston Depot - serial number 232636 - Luminator type, back cover loose, 180H x 1300W x 100D. See images 3704i1a to e. .2 - dot matrix type route number fitted to the front of a tram, type fitted to B2 class tram, set at 86D, serial number 273644 - Luminator type, marked "163 No", 240H x 350W x 135D. See images 3704i2a to d. .3 - flipper type, side destination type, marked "ex 53" (Z class tram), made in Italy by Boselli has yellow label 37/702S, serial number 40A1603, set to St Kilda Beach and stamped 136 on one flange. 120H x 330W x 165D. See images 3704i3a to c .4 - flipper type, destination box, with markings "B'Wick Flaps", with labels "New" "Universal A flaps" made in Italy by Boselli, serial number 40A6623, set to St Kilda Junc". 210H x 1000W x 1900. See images 3704i4a to d. .5 - flap from an above type box, half of "Richmond" and "South Melb Depot", 970W x 80H. See images 3704i5a to b .6 - controller box, marked "No. 105" on rear, serial number 202311 Luminator, numeric pad, illuminated display and five control buttons made by gulton Luminator division fitted to a B2 tram. See images 3704i6a to b .7 - dot matrix destination sign fitted to the front of a B2 class tram, set to "Not in Service", Serial number 502626 Luminator, 220H x 1300W x 165D, See images 3704i7a to e. Source of items 3 and 4 name based on drawings held by the Museum for the destination signs fitted to Z class trams. Refer to drawing R11-982 as an example. Luminator made by Luminator Technology Group Texas - see https://www.ltgglobal.com/ access 12/7/2019. Imagetrams, tramways, destination indicators, z3 class, transport equipment, z class, b class