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. 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. 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 Drawer Knob, unknown composition, base broken off, has slight encrustation. Artefact Reg No S/118. Recovered from the wreck of the Schomberg. flagstaff hill, warrnambool, 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, drawer knob

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. 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. 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 Drawer Knob, unknown composition, base broken off, has slight encrustation. Artefact Reg No S/118. Recovered from the wreck of the Schomberg. flagstaff hill, warrnambool, 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, drawer knob

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. 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. 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 Draw Knob, unknown composition, base broken off, has slight encrustation. Artefact Reg No S/118. Recovered from the wreck of the Schomberg. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knob, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen

The painting was purchased from the Eltham Outdoor Art Show. Smith endeavours to capture mood, atmosphere and light in this work by heightening and intensifying the imagery where possible. Smith is concerned with expressing a 'sense of place' inherent in the subject matter. Painting of a landscape at dusk with dirt walking track and trees somewhere in Eltham. Oil on composition board. Moulded frame. Painted in the 'Western Realist Tradition'. Signed 'HARRIS SMITH/84' Hand painted in capitals in red paint; bottom right. eltham, painting, landscape, smith, evening

Coat purchased by Edward Goode from Henry Bucks in 1945 and worn until 1955Man's navy blue Burberry overcoat, single fly fronted, two flap pockets, check lining, composition terylene/cotton with rayon liningBurberry'scostume, male

In 1895 artist Gordon Coutts was commissioned by Elizabeth Harding (Mrs. Silas Harding), a wealthy pastoralist, to paint this portrait of Prince Albert. The portrait was completed by 1896 and is a copy of an original by German artist Franz Xaver Winterhalter (1805-1873). In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Queen Victoria’s appreciation of Winterhalter began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. There are a number of notable differences in the original Winterhalter work and this painting. The local artist Coutts has changed the colour of the Prince’s cloak from deep blue/black to red (perhaps as a result of working from a black and white photograph). Other differences include extra satin shoulder ribbons, a simplification of the furnishings, notably the floor, and an inexact representation of the medallions worn; collars of the Order of the Garter, Bath, and the Golden Fleece. The painting is framed to match the official copy portrait of Queen Victoria, with the coat of arms of Prince Albert of Saxe-Coburg and Gotha, fixed atop the frame in place of the royal crown.Framed portrait, oil on cotton, of Prince Albert. The Prince Consort wears the robes of the Order of the Garter, holds a Field-Marshal’s baton, and is posed in front of a curtain and colonnade. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. The coat of arms that sits on top of the frame is a combination of carved timber and composition elements.Signed lower right corner in red brushpoint: ‘after Winterhalter / By Gordon Coutts / 1896’.albert, prince consort of victoria, queen of great britain, 1819-1861, winterhalter, franz xaver, 1805-1873, coutts, gordon (1865-1938)

This work used to hang at the entrance to the Geology Department at LaTrobe University.A colourful painting on composition board of a representation of a magnified geological specimen. If you have information on this artwork or artist please leave a message in the comment box below.artist, artwork, janczewski, geology

Rare VMR SwordBritish pattern 1908 cavalry sword with blade 845mm long and engraved blade. Steel handguard engraved VMR with composition handle. Leather scabbard with brass fittingsBlade. Scroll work with VMR in centre " Henry Wilkinson, Pall Mall, London. Handguard " VMR"weapon, sword, vmr, british, wwi, world war one

Mayor and councillors as at 1866-67Discoloured stiff card poster printed in black and red advising names of mayor and council of Borough of St Kilda and composition of various council committees. Printed with gold border.st kilda - history, borough of st kilda, 1866, mayor james patterson, 19th century

Mayor and councillors as at 1867-68Discoloured stiff card poster printed in black and red advising names of mayor and council of Borough of St Kilda and composition of various council committees. Printed with gold border.st kilda - history, borough of st kilda, mayor james patterson, 19th century

Mayor and councillors as at 1868-69Discoloured stiff card poster printed in black and red advising names of mayor and council of Borough of St Kilda and composition of various council committees. Printed with gold border.st kilda - history, borough of st kilda, mayor henry tullett, 19th century

John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham

Swords were issued to Australian Light Horse in 1918. Light Horse in period 1920 - 1940 were equipped with swords. Some soldiers including Trooper G R Fear chose to obtain their own swords. Trooper Fear served with 2/9th Armoured Regiment during World War Two. 8/13 VMR Heritage Troop carried swords and gave exhibitions of tent-pegging during 1980s.Part of collection relating to an Armoured Corps soldier of WW11British Model 1908 cavalry sword with steel blade 890mm long, composition handle with steel handguard, painted steel scabbard with 2 fixed rings. Painted khaki greenON blade 12 A 15 EFD On back " 08 "military, sword, fear, light horse, militia

Born: Melbourne, Victoria, Australia 1890; Died: 1947ModernismBennett Bequest, 2000 Figures depicting children on swings. Gold painted wooden frame.Recto: Signed and dated "E.L.Spowers - 1932" in grey ink l.r.c of composition; Titled "Swings - 21/50" in grey ink l.l.c.print, japanese tissue paper, children, playing, swings, linocut, australian art

Born: St Petersburg, Russia 1873; Arrived: Sydney, New South Wales, Australia 1887; Lived and worked: England, France, Wales, Egypt, Palestine 1900-1921; Died: Cobbity, New South Wales, Australia 1930InterwarGift of J. Brackenreg, Artarmon Galleries, 1979Drawing of head with short hair, neck and shoulders. Black timber frame.Recto: Signed, titled and dated "G.W.Lambert / J.W.L. McHugh – April 28th / 1925" in grey pencil across lower centre of composition.drawing, portrait, face, man

Born: Uxbridge, Middlesex, England 1872; Arrived: Melbourne, Victoria, Australia c.1914; Lived and worked: France 1905-1913, Australia: 1908 and 1913, Europe, Middle East and Asia 1916- c.1936; Died: Melbourne, Victoria, Australia 1952ImpressionismMajor Basil MacNay Bequest, Gift of Arts Victoria, 1998Hand-coloured lithograph depicting colourful buildings, boats and figures along shoreline. UnframedRecto: Signed "Carrick Fox" in black pencil in l.l.c of composition; "1/25" in black pencil in l.r.c of compositon; Not dated; Not titledprint, waterscape, boats, houses, bridge, figures, europe, trees, hill, water

A printed leather Wright & Ditson (USA) advertising banner, with wooden support pole inserted through a tunnel loop sewn into upper edge. Banner depicts a graphical composition with the word 'TENNIS' intersected by a vertical tennis racquet which is branded 'WRIGHT & DITSON' on the throat. On the net of the racquet a male figure is depicted, wearing a striped blazer and cap, and holding a tennis racquet. A rectangular pink decorative border surrounds this composition. Materials: Wood, Leather, Ink, Metaltennis

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. These three bolts of fabric come from the same run of fabric used to tailor Suit Jacket 8045. All fabrics were designed by Nino Corda while he was working at the Foster Valley Mill. The bolts of fabric have an attached swing tag. This swing tag details information such as composition of the fabric, total amount of fabric and the design number.Three bolts of fabric with repeating pattern in 100mm grid. All three bolts have frayed edges, indicative of their need to be sent for finishing. The dominant colour in all three fabrics is grey. 8044.1 has red and green lines running vertically and horizontally and an attached swing tag. 8044.2 has red and orange lines running vertically and horizontally and an attached swing tag. Fabric bolt has yellow label attached to one edge of fabric, depicting the fabric’s number. 8044.3 has orange and blue lines running vertically and horizontally. No swing tag is attached.8044.1. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.1. Swing tag. Typed and handwritten wording. Reverse. JONO TAILORING / CALL NO……………. / DESIGN 6302-49-5 / PIECE NO 9528 / METERS 3.5 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER 8044.2. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.2. Swing tag. Typed and handwritten wording. Reverse. left over (?unknown handwriting?) / CALL NO…………… / DESIGN 6302-49-2 / PIECE NO…………… / METERS 6.0 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER.textile design

Grey soft covered book with red tape spine. The 76 pages clay deposits, composition of Victorian clays, clay localities, granitic clays, Residual Clays, Clay-Shales, Jurassic clay shales.r a keble, senior field geologist, j c watson, chief chemist, d e watson, chief government geologist, g c moss, minister of mines, mallee plains, avoca valley, loddon valley, campaspe valley, goulburn valley, kiewa, mitta, glenelg valley, pitfield valley, otway area, moorabool valley, darley fireclay, campbellfield clay, latrobe river valley, hendley, ball clays, felspars, pegmatities, quartz, pakenham fireclay, bulla china clay, kaolin, terracotta, stoneware, ballan dyke-belt, egerton, gordon, ballan, llandeilo, colbrook, elaine, lal lal, maryborough, ballarat, ringwood, siliceous clay, stawell, dromana, ptways, bulla, pyalong china clay, linton china clay, wedderburn clays, lal lal china clays, ballan dyke belt, reginald callister, knight's koalin pottery, china clay, ferdinand krause, clarendon, bittern, frichot, hunt's dam, vaughan, rosenow, hickey, malone, claypits, ballarat dyke belt, stawell dyke belt, maryborough dyke belt, guildford, daylesford, ovens valley

Book, Work program V1b 1956, programs ranged from 7/2/ 1956 to 22/12/1956. The subjects included were; Arithmetic, Literature, Grammar, Composition, Spelling, Social Studies, Art.book, bendigo, education

Swords were issued to Australian Light Horse in 1918. They were part of the equipment of Light Horse ln period 1920 -1940. Carried by 8/13 VMR Heritage Troop during 1980s.Display potential and occasional ceremonial use.British Model 1908 cavalry sword steel blade 890mm long, composition handle with steel hand-guard painted khaki green. Steel scabbard with 2 fixed rings painted khaki green.On handguard 2 RMA MBY 340sword, sabre, cavalry, light horse, military, weapon

Marseille My Dream Baby doll, 8-22" tall, bisque head, lightly painted hair, painted or sleep eyes, doll mold 351 has an open mouth with two upper teeth, cloth body with bisque or composition hands or composition jointed body, came as either a white doll or black doll. Doll face shown is a socket bisque head with sleep eyes on a composition jointed body. Armand Marseille of Sonneberg and Koppelsdorf, Thüringia, Germany was one of the worlds largest and best known bisque doll head manufacturers. The founder was born in 1856 in St. Petersburg, Russia the son of an architect and immigrated to Germany with his family after 1860. In 1884 he bought the toy factory of Mathias Lambert in Sonneberg and in 1885 acquired the porcelain factory of Liebermann & Wegescher in Koppelsdorf . . and his empire in the doll world began. Made 1924 - 1930 and later Bisque heads made by AM represented a new born infant. They came in white, brown and black versions. Mold 351 with open mouth and two lower teeth. The bodies were either cloth or composition AM doll. China haed, sleep eyes, painted lashes, two bottom teeth. Doll’s head has been repaired (badly) Composition body in good condition Embroidered lawn dress with pink embroidery. Appears to be original clothes Doll purchased from Harrods in London in 1926

Four page entry form for Portland Camera Club's 7th exhibition of photography, 26th and 27th October 1967. Contains information on classes, judges, general conditions of entry etc. Back page is actual entry form. White paper, green print, Portland Camera Club logo on front.Front: 'Impact, composition, colour' - handwritten, blue biro. Back: 'Name of Exhibitor 'Miss B. Vivian' and details of exhibits - handwritten, blue biroportland camera club

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL PUBLIC LIBRARY The Warrnambool Mechanics’ Institute (WMI) was formed by a voluntary community group in 1863, within six years of Warrnambool’s beginnings, and its Reading Room opened in 1854. The WMI operated until 1963, at which time it was one of the oldest Mechanics’ Institutes in Victoria. Mechanics’ Institutes offered important services to the public including libraries, reading rooms and places to display and store collections of all sorts such as curiosities and local historical relics. In 1886 a Museum and Fine Arts Gallery were added to the WMI and by the beginning of the 20th century there was also a billiards room and a School of Art. By this time all Mechanics’ Institutes in country Victoria had museums attached. Over the years the Warrnambool Mechanics’ Institute Library was also known as the Warrnambool Public Library the Warrnambool Library and the Free Library. Early funding from the government was for the “Free Library”. The inscription in a book “Science of Man” was for the “Warrnambool Public Library”, donated by Joseph Archibald in 1899. Another inscription in the book “Catalogue of Plants Under Cultivation in the Melbourne Botanic Gardens 1 & 2, 1883” was presented to the “Warrnambool Library” and signed by the author W.R. Guilfoyle. In 1903 the Warrnambool Public Library decided to add a Juvenile Department to library and stock it with hundreds of books suitable for youth. In 1905 the Public Library committee decided to update the collection of books and added 100 new novels plus arrangements for the latest novels to be included as soon as they were available in Victoria. In July 1911 the Warrnambool Council took over the management of the Public Library, Art Gallery, Museum and Mechanics’ Institute and planned to double the size of the then-current building. In 1953, when Mr. R. Pattison was Public Librarian, the Warrnambool Public Library’s senior section 10,000 of the 13,000 books were fiction. The children’s section offered an additional 3,400 books. The library had the equivalent of one book per head of population and served around 33 percent of the reading population. The collection of books was made up of around 60 percent reference and 40 percent fiction. The library was lending 400 books per day. In 1963 the Warrnambool City Council allocated the site of the Mechanics’ Institute building, which included the Public Library, Museum and Art Gallery, for the new Municipal Offices and the Collections were dispersed until 1971. The Warrnambool Library took over the Mechanics’ Institute Library’s holdings on behalf of the Warrnambool City Council. Since the closure of the Warrnambool Mechanics’ Institute the exact location and composition of the original WMI books and items has become unclear. Other materials have been added to the collection, including items from Terang MI, Warrnambool Court House and Customs House. Many of the books have been identified as the Pattison Collection, named after the Librarian who catalogued and numbered the books during his time as Warrnambool Public Librarian in the time before the Mechanics’ Institute closed. It seems that when Warrnambool became part of the Corangamite Regional Library some of the books and materials went to its head office in Colac and then back to Warrnambool where they were stored at the Art Gallery for quite some time. Some then went to the Warrnambool Historical Society, some stayed at the Art Gallery and some were moved to Flagstaff Hill Maritime Village. The various stamps and labels on the books held at Flagstaff Hill show the variety of the collection’s distribution and origin. The books in the collection at Flagstaff Hill Maritime Village date from the 1850’s to the late 1950’s and include rare and valuable volumes. Many of the books are part of the “Pattison Collection” after the Warrnambool’s Public Librarian, Mr. R. Pattison. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, and to reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. As with many Mechanics' Institutes in Australia, the one which operated in Warrnambool was established and overseen for many years by key individuals associated with the development of the city itself. The WMI publication collection is historically significant because of its association with local people, places and the key historical themes in the development of Warrnambool of rural development, industry, farming, education, and community. The collection documents and illustrates the changing interests, focus and tastes of Victorians, especially those in regional cities. Generally the individual items in the collection are not particularly rare, as examples of all probably exist in other public collections in Victoria. It is primarily because there are so very few surviving Mechanics' Institute collections in Victoria, which lends this overall collection its significance. Many items in the WMI Collection have the potential to support further research, both as individual objects and through the collection in its entirety. This material is significant for its ability to assist in the interpretation of the history of the area and adds to the general understanding of the development of the township. Many components of the WMI publication collection complement and reinforce the Flagstaff Hill Maritime Museum Collection, the Warrnambool Art Gallery Collection, and that in the Warrnambool Historical Society, and also contribute to a clearer understanding of the original Warrnambool Mechanics' Institute collections. This will greatly enhance the appreciation of the few surviving Mechanics' Institute collections across Victoria, and also in New South Wales. The similarities and differences between the small number of collections that have survived can provide further insights into how the people of Victoria in general, and Warrnambool in particular, constructed a civic culture of adult learning to foster an informed citizenry. The Warrnambool Mechanics' Institute publication collection is of both local and state significance. The Life of Samuel Johnson, LL.D. Comprising a series of his correspondence and conversations with many eminent persons; and various orginal pieces of his composition; with a chronological account of his studies and numerous works Author: James Boswell Publisher: George Routledge and Sons Date: 1867Label on spine cover with typed text PAT 920 JOH Pastedown front endpaper has sticker from Warrnambool Public Library Front loose endpaper has a stamp from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the life of samuel johnson, ll.d., james boswell

Born: Melbourne, Victoria, Australia 1860; Lived and worked: France 1887-1932, England 1932-1940; Died: Brighton, Sussex, England 1940World War IGift of Mrs E.E. Ledger, 1987Drawing depicting a field hospital with tents and trees lining a snowy field and figures working at sunrise. Limed timber gallery frame with white window mountRecto: Signed, titled and dated 'ISO RAE / ETAPLES Jan 1918 – Tents no I Can. Hos. / fire buckets" in grey pencil in l.l.c of compositiondrawing, landscape, figures, trees, structures, tents, sunrise

Wood engravingSigned and dated lower right corner below printed image "Tim Jones 1984". Edition and title to the lower left below composition, A/P "Gippland"

Paper relief printSigned and dated lower right beneath composition "J. Taylor 1973" Edition and title inscribed in lower left below print, 2/25 "Negative Yellow"

Seven 1954 commemorative Florins Queen Elizabeth II Royal visit. Composition: 50% silver, 40% copper, 5%zinc, 5% nickel. There were 2 millions coins issued, mintmark M (Melbourne) All in excellent conditions.numismatics, coins - australian, florins