This is a collection of sixteen tourist guides dating from the mid 1970's to 2013. These contain listings of businesses, accommodation, eateries and events in Warrnambool and district. They also include maps of Warrnambool and surrounds, advertising and photographs of various attractions. While mainly covering Warrnambool a small number of the guides cover the South West Region. These directories have mainly been published by the Warrnambool City Council and are a selection of the types of information provided to visitors at the Tourist information centre during this time period.These tourist guides give snapshots of the City of Warrnambool for the years covered and will be useful for research.[.1] An 8 page paper booklet with black printing and a black & white photo of the pond at the Botanical Gardens on the front cover. [.2] two photocopied A4 black and white pages from the book "On the Trail" K Winser 1956 (Main Roads of Australia) [.3] A trifold colour brochure with a stylised map of the coast on the yellow and blue front cover. The inside has stylised colour drawings on Warrnambool attractions. The rear cover has coloured photographs of bush, Liebig Street and Fletcher Jones gardens [.4] A trifold black and white brochure with a black line drawing of a whale on the front cover. [.5] A trifold white card with mauve printing. The front cover has a line drawing of the former Timor Street post office and a map of businesses and landmarks in Timor Street. The reverse side contains a brief history of Warrnambool. [.6] A 98 page stapled booklet with a foreword by Vanda Savill. There are 4 pages of coloured photographs. The remainder are black and white photographs. The front cover is purple with white writing in the lower third. There is an outline of the coast and five colour photographs of district attractions. The inside middle page has a map of the Western wonderland region. The content covers towns in this area. Content relating to Warrnambool is in the last six pages. [.7] Twelve loose photocopied black and white pages. The front cover has the Warrnambool Premier Town 1988-1991 logo and a photo of a Southern Right Whale and calf. The bottom right hand corner has a Standard Warrnambool logo. [.8] 44 page booklet printed with blue ink. The staples have been removed. The glossy front cover has blue printing with a coloured photo of Flagstaff Hill Maritime Village pond. The centre pages has a fold out map of the City of Warrnambool. The rear cover has photos of The Twelve Apostles and Hopkins Falls. [.9] 4 loose photocopied pages with Warrnambool Library and Corangamite Regional Library Service Warrnambool City Library black ink stamps. The front page line drawing illustrations of Warrnambool attractions [.10] A single sheet of glossy white paper folded in half to make four pages. The front page has a Warrnambool premier town logo 1979-1982 and blue printing and a visitor survey. [.11] A conference pack of light card folded to make a pocket containing three brochures, a shipwreck coast tourist directory and a Australian Heritage Parks Association conference program dated 24 to 27 May 1992. The front cover of the pack has green writing over a stylised upward arrow. There is a City of Warrnambool logo in the top right hand corner and two film strips diagonally across the cover containing photographs of Warrnambool. The rear cover has a coloured Warrnambool Premier Town logo. [.12] A 63 page stapled booklet with coloured photographs of Warrnambool. The front cover has black writing on white background. There is a coloured photograph of Flagstaff Hill in the middle of the cover and a Warrnambool City and Visit Victoria logos on the lower edge. The middle pages has a coloured of the city of Warrnambool with an inset map of Allansford. [.13] A single large sheet of white paper folded in ten to make a brochure. The front cover has black printing. The rear cover has a purple ink stamp for the City of Warrnambool Tourist Information Centre. When folded out the reverse side has a green, grey and white map of the South West Region of Victoria. [.14] A 48 page colour booklet on glossy paper. The front cover has white writing on a blue background and includes photographs of the Twelve Apostles, the Promenade walk, Flagstaff Hill and a southern right whale's tail. The rear cover has photographs of The Twelve apostles, a passenger train from Melbourne passing the Lake Pertobe playground, and a rural scene. There is white writing and a white Warrnambool City logo on a blue background. The centre pages have a stylised green and blue map of the city of Warrnambool. [.15] A 48 page colour booklet on glossy paper. The front cover has white writing over colour photographs of two people at a lookout, Flagstaff Hill, three southern right whales and a child at the Lake Pertobe playground. The lower edge has blue upper case writing on a white background. The rear cover has a colour photograph of the Twelve Apostles. The lower white border on the rear covers has a a blue and green City of Warrnambool logo and blue writing. The centre pages have a stylised green and blue map of the city of Warrnambool. [.16] A 64 page colour booklet on glossy paper. The front cover has black writing on a black background and there is a photograph of a southern right whale's tail. The lower edge has the Warrnambool City and Visit Victoria Logos. The centre pages have maps of Warrnambool and surrounds. [.1] This week in Warrnambool Vol 2 No. 5 Thurs 1st Feb. For the time of your life [.2] Warrnambool Way [.3] Warrnambool The Holiday Host on the South West Coast with compliments City of Warrnambool and Warrnambool Chamber of Commerce [.4] MMI Insurance presents Whales Giants of the Deep Whale Watcher's Logbook Warrnambool [.5] Warrnambool History began in Timor Street [.6] Western Wonderland Tourist Association [.7] A Premier Arrow Tour of Warrnambool Victoria's Premier Town Australia's Southern Right Whale Nursery [.8] Warrnambool The Heart of Victoria's Great Southwest Visitor's Handbook [.9] What to see in Warrnambool Victoria's Premier City 1979-1982 [.10] Win a Free Holiday & $200 Cash in Victoria's Premier Town [.11] Advancing Warrnambool together! [.12] Great Ocean Road Warrnambool Official Visitor Guide [.13] Tourist guide to the South West Region Victoria All it needs is you [.14] Warrnambool visitor guide 2005 the great ocean road experience attractions accommodation entertainment dining [.15] Warrnambool Visitor Guide 2006 the great ocean road experience Attractions Accommodation Entertainment Dining [.16] Official Visitors' Guide Warrnambool Victoria Australia Discover the Great Ocean Road warrnambool, warrnambool tourist guides

The plans are presented in a keepsake folder. They show marks of sections copied and assembled together. Overall, the plans are similar to those drawn by Mr P Webb to the order of the Loch Ard Shipwreck Centenary through Mr P Williams, the organizer of the Centenary competition. “The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail on the plans is the inclusion of the following useful information about the original vessel … Tonnage….1,693 G.R.T., 1,624 N.R.T. Dimensions, Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.), and the ship’s fate. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. 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.Model ship plans for building the LOCH ARD. The three sets of plans are presented in a textured cream card folder with the supplier’s details and an oval cameo drawing of the LOCH ARD. The plans are detailed and drawn to scale. They and printed on good quality paper with details, scale and legends. Sheet 1: Sails and Rigging Sheet 2: Lines, Decks and Details Sheet 3: Masts and Spars Details include deck fittings, the wheel, lights and the shipping company’s house flag. The ship model plans are copyrighted in 1977 and 1978 to Webb Warships Pty Ltd. The folder has details of four locations; Australia, USA, UK and New Zealand. Sheet has a handwritten inscription.On Folder: "LOCH ARD CLIPPER SHIP, 1874, MODEL CONSTRUCTION PLAN SET, WEBB WARRIORS PTY LTD." "CONTENTS COPYRIGHT (C) 1978, WEBB WARSHIPS PTY LTD" "WEBB WARSHIPS PTY LTD, PO BOX 50, WILLIAMSTOWN, VICTORIA 3016, AUSTRALIA" Handwritten inscription on sheet 3: "834" "THE FLOATING DRYDOCK, PO BOX 16066, PHILADELPHIA, PENNA. 14114, USA" "SAMBROOK MARINE (PLANS), 84 BROAD ST. TEDDINGTON, MIDDLESEX, UK" "BYMODELS, PO BOX 3037, FORBURY, DUNEDIN, NEW ZEALAND" 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, ship model plans, loch ard model plans, sailing ship, loch ard centenary, webb warriors pty ltd, 1977, 1978, centenary competition

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oat with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned.32 In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery.33 Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck. The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Small brass horse harness disc 1½" in diameter. Slight verdigris and encrustation. Recovered from the wreck of the Schombergwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, horse harness, horse brass

This small ship’s bell, possibly a ‘mess’ or dining room bell, was the smaller of the two bells rescued by the crew of the Schomberg when it was wrecked in 1855. All of the crew from the Schomberg wreck survived. They carried the two ship’s bells with them as they made their way along the coast, eventually arriving at the home of settler, John Manning, who lived at Hopkins Point near Warrnambool. Manning acquired the Schomberg bells, presenting them to two Warrnambool churches; the smaller one to St Joseph’s Catholic Church and the larger bell to St John’s Presbyterian church. This small bell developed a crack after about a year at St Joseph's church and could no longer be used. Thomas Manifold imported a new bell for that church and the cracked belled was stored at his farm and stored. The property was sold years later to John Logan, who donated the discarded bell to the Warrnambool Museum when it first opened in 1886. The Curator, Joseph Archibald, displayed the bell in the entry. The small bell was repaired and re-plated by Briggs Marine in 1986. The larger Schomberg bell was installed in St John’s Presbyterian Church. In 1887 a ‘massive’ new bell, made in Victoria, was installed at the Presbyterian Church, so the old bell was transferred to the nearby Woodford Presbyterian authorities. During World War II the 1887 bell cracked, and could not be repaired. In 1983 the old Schomberg bell from the Woodford church was loaned to Flagstaff Hill Maritime Museum and Village. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen at a cost of £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and an oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the ship Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons of cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signalled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in 825 meters of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby.The bell is particularly significant in that along with other items from the wreck helped in part to having the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This bell forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck. A small ship’s bell. The bell bears the ship’s name and year of construction on one side and the name and address of the ship’s builders on the other. These details are deeply engraved into the metal and formed in bold upper-case lettering. The bell has two bell stands, a left and a right side. Both stands have an Iron pipe made into an inverted ‘Y’ shape with a hole made in the single length, and feet attached to a rectangular metal plate at the other two ends. Feet are bolted into a timber base that has a hole drilled through the centre for mounting. Bell's front; “SCHOMBERG” with “1855” below. Bell's back “HALL & SONS (crack splits letter “N”) / BUILDERS (in italics) / ABERDEEN” (crack splits letter “B”).flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, silver plated bell, mess bell, bell stands, captain ‘bully’ forbes, alexander hall and son, james baines and company, liverpool’s black ball line, bell, schomberg bell, ship's bell, small bell, st joseph's church, briggs marine

Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder contained Record no. 13619, the recording “Poor old England” published by Castling and Godfrey, sung by Billy Williams. Made by National Phonograph Company USA. C.1907On lid “Edison Record” and “This record should turn at 160 revolutions per minute, no faster” Written on lid in blue pen “Trumpet”, “EDISON AMBEROL RECORD / FOUR MINUTE”warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison

Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder was made by Edison 1908 and contains Record number 53 by Sandy McNab. c. 1908On label “Edison Record No. 53, Sandy McNab" and "Form no. 1130, April 1908. Patented December 6 1904, No. 2109, and December 6 1904 No. 2110. “This record is sold by the National Phonograph Company of Australia Ltd, at Sydney Australia.” Trade Mark Thomas A. Edison warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison

Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder contained Record no. 49, “B & H Jack” and was made at the Edison Laboratory USA. C. 1905On lid “Edison Record No. 49”, written in pencil “B & H Jack” (it looks like this) On cylinder “EDISON GOLD MOULDED RECORDS ECHO ALL OVER THE WORLD” Patents listed for 1904 & 1905warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Ladies fob watch, gold, covered in encrustation (small section has broken off to reveal the engraved surface). Face and hands are missing, revealing the workings. Found in the Loch Ard gorge and said to have been from the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ladies fob watch, gold watch, fob watch, pocket watch, horology, accessory, time keeping, scientific instrument

These two framed model ship plans are from more than 650 produced for the LOCH ARD Centenary (1878-1978) Commemoration Committee. These plans were originally researched, designed and distributed in 1977 to assist entrants in the Committee’s Ship Model Competition. The competition was arranged as a means of creating public interest and awareness for the 100th anniversary of the tragic LOCH ARD shipwreck on Victoria’s south west coast in 1878. The main subject specified for modelling was “The Loch Ard ― Iron Wool Clipper 1873”. “The plans were drawn by Mr P Webb to the order of the Committee through Mr P Williams, organizer of the competition. The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail delivered on the plans is the inclusion of the following useful information about the original vessel: “Tonnage….1,693 G.R.T., 1,624 N.R.T. Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.)”. The quality of research and drafting makes these framed copies of considerable interpretive value to related items from the LOCH ARD shipwreck on display at Flagstaff Hill. They were originally mass produced but are now out of print. Flagstaff Hill retains other (unframed) copies in storage. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. 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. Two framed model ship plans of the LOCH ARD. These are detailed and researched plans from the original vessel, drawn to scale and printed on good quality paper, and framed behind glass to be hung on display. One slightly smaller plan “Lines, Decks and Details” portrays the hull lines as a body plan (straight on at the bow), a sheer plan (full side view), and a half breadth plan (a top-down view of deck to keel), as well as two top-down views of the upper decks and main deck with fittings and details of specific fixtures. One slightly larger “Sail and Rigging Plan” presents a side on, above deck view of masts and shrouds and a front on, above deck view showing “Elevation of Mainmast Looking Aft”. Each plan bears the draftsman’s initials and date of completion (“P.A.W. 10/77”). The larger plan also includes a boxed label attributing the project to the “LOCH ARD CENTENARY Commemoration Committee Ship Model Competition.”Smaller plan: heading “LOCH ARD: LINES, DECKS and DETAILS”; initials “P.A.W. 10/77”. Larger plan: heading “LOCH ARD: SAIL and RIGGING PLAN”; initials “P.A.W. 10/77”; label “LOCH ARD CENTENARY Commemorative Committee Ship Model Competition”. 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, ship model plans, loch ard model plans, sailing ship, loch ard centenary

The Queen: The Ladies Newspaper and Court Chronicle or simply The Queen was a magazine created in 1864 in London. The title became "Queen in the 1950s, then "Harpers and Queen" in the UK and then part of the British Harper's Bazaar. In 1861 Samuel Orchart Beeton ("Mrs Beeton"'s husband) had founded a paper named "The Queen" about fashion and culture for upper class women of society. Edward William Cox bought the title the following year and at the same time he bought the Queen's rival that was named "The Ladies' Paper". He merged the two publications into "The Queen: The Ladies Newspaper and Court Chronicle" in 1864. The Queen, The Lady's newspaper was delivered to Australia from UK during colonial times. The fashion page shows designs of dresses that were worn in late 19th century.A rectangular hardboard with a page from a newspaper atatched to one side of it, and a very small one line cut out from a newspaper glued to the other side. There are marks from sticky tape and old paper around the page. The page is of 3 fashion design drawings, titled Smart Autumn Gowns, sketched by our artist at Messrs Redmayne's, 19 , new bond street, w. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, the queen, the lady's newspaper, fashion drawing, messrs redmayne, 1891

This map from the mid-18th century doesn't include the finer details of land and sea masses that we know today. The map was produced by German cartographer and publisher, Johann Baptist Homann (1663-1724) and published in 1746, after his death. Earlier versions were published, such as 1707 and 1716. The date can be calculated from the Roman numerals on the top left text area. This print of a map is significant for its connection with early world explorers. A comparison of maps over the centuries shows the progression of navigational technology, the countries who claimed the land they explored. The naming of even some Australian locations shows who had already made their mark on Australia in the early 18th century. The print shows the fine details included by the cartographer and the beauty included that makes it attractive and interesting even today. The map is also significant for its connection with German cartographer, Johann Baptist Homann, whose Homann publishing company was renewed in Germany for producing high quality maps and atlases. Map behind glass in dark brown wooden frame on beige paper. The Coloured hand drawn line drawings show different hemispheres of the known world in the mid-18th century. Beautifully drawn figures and decorative embellishments enhance the map. The text on the top right has an explanation of the Figures I, II, III, and IV. This print of the 1746 map was produced in England by Leisure Arts Ltd. "PLANIGLOBIL TERRESTRIS" "MDCCXXXXVI" [1746] "MAPPE_MONDE" [Medieval Map of the World] "LEISURE ARTS LTD" "Printed in England"flagstaff hill, warrnambool, flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, shipwreck coast, world map, french map, 18th century map, leisure arts ltd, cartography, early exploration, cartographer, johann homann (1663-1724), exploration, naviagtion, 1746 planiglobil terrestris

ill, p.56.non-fictionPictorial history of Tasmanian's Railways private and government serving the West Coast.railroads - tasmania - pictorial works, steam locomotives - tasmania - history

This nightgown is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing

Standard Victorian Railways Brake Van (Guards Van) originally Z 448 built at Newport Workshops & body built by Grimmond & Party butty gang. Entered traffic on 23rd March 1914. Altered to ZL448 incorporating long travel draft gear, 28th November 1961. Off Register on 10th August 1982 & sold to Echuca City Council 3rd September 1982 This is an example of the most numerous type of brake van used by Victorian Railways over a very long period. Brake vans would not have been a common sight at the Wharf as the line to the Wharf was operated as a siding from Echuca Station, so a brake van was not required. It is possible that a shunter walked ahead of the train to and from the wharf. This vehicle is significant. However a large number survive in operable condition around Victoria. Standard Vic Rail Brake (Guards) Van. wharf, shire of campaspe, newport workshop, brake van, grimmond & party butty gang, guards van

This letter of sympathy is written to the widow of William Ferrier who rescued Captain Mylius and another seaman from the shipwreck, La Bella, at Warrnambool. Leonard Robertson, from Auckland, was II Mate of the La Bella. The letter was written from the Marine Dept. Queensland. Many newspaper accounts narrate the rescue and evidence given at the Marine Court of Inquiry. A book "Leonard Robertson, the Whangaroa & La Bella"/Jack Churchouse was printed. William Ferrier was born in Warrnambool and it is reported that he was a member of the lifeboat crew and served some years in the lighthouse service. During the La Bella rescue Ferrier used his dinghy, as he was an experienced fisherman of 25 years old. Ferrier, moved to Queenscliff at some stage and died at the Geelong hospital after having a seizure at sea. Ferrier's 15 years old son was having his birthday and fishing with him at the time. He was survived by his widow and 13 children. Otto Bayer who had informed Robertson of Ferrier's death was a crew member of the lifeboat. The site of the La Bella wreck lies in Lady Bay Warrnambool, at La Bella Reef - named after the fact. Transcript: Marine Dept Queensland 5.1.38 Dear Mrs Ferrier, Please accept my Sincerest Sympathy with you and your family in the loss of your husband. Mr. Otto Bayer advised me of the sad news and as I was II Mate of the La Bella when she was lost at Warrnambool I feel that I should write this short note and express my deep feelings in your loss. It is now 32 years since the wreck of which your husband was the hero. It is sad to think that we are all fading away and looking back I can see Bill Ferrier out in his boat at the La Bella it brings it all back to my mind as I write. A good man, and sailorman, is gone but never forgotten. Again expressing my deepest sympathy to you all Believe me, Yours Sincerely Leonard Robertson.This item is of historical significance in relation to the La Bella shipwreck as it is written and signed by a survivor and witness of the rescue. It is a single letter to the wife of the hero William 'Bill' Ferrier. The Ferrier family have a long social history with Warrnambool and Ferrier Drive is named in honour of the hero. The letter front is written on a lined and yellowed paper that has been repaired. The repair runs from top to bottom and has been done with cello tape. A small repair runs across the middle a couple of centimetres from the top and for approximately four centimetres down the middle. There are some small tears to the edges, particularly on fold creases. There are small brown age spots to peripheral areas. This is a sympathy letter from Leonard Robertson, II Mate and survivor of the La Bella to the widow of William (Bill) Ferrier rescue hero on his death. Inscribed in blue ink: "OWNER. G. FERRIER / LOANED. TO. BE / PHOTOGRAPHED / 27/4/76"flagstaff hill maritime museum and village, great ocean road, shipwreck coast, la bella, william ferrier, bill ferrier, lady bay, 1905, 10th november 1905, 11th november 1905, parliament of the commonwealth, prime minister, australian government, new zealand, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, leonard robertson, rescue, frank ferrier, la bella reef, otto bayer