A Wilson 'Steffi Graf Pro Staff 7.0' racquet. Handle sealed with clear plastic. Materials: Graphite, Plastic, Nylon, Adhesive tape, Rubbertennis

A poster promoting the new Yamaha 90 Gold, 90 Silver, and 90 Bronze ceramic/graphite composite tennis racquets. Materials: Paper, Inktennis

Zebest 'Future Star 1' racquet. Handle wrapped in non-original fluoro pink grip tape. Materials: Graphite, Plastic, Adhesive tape, Nylontennis

A Dunlop 'McEnroe SL' tennis racquet, with vinyl cover. Materials: Leather, Adhesive tape, Nylon, Ink, Plastic, Metal, Graphite, Vinyl, Metal, Inktennis

A Wimbledon 'Nova Oversize' tennis racquet with PGS (Polymer Grip System). Handle wrapped in clear plastic. Materials: Graphite, Nylon, Plastic, Adhesive tapetennis

A Sportime 'Maximum' tennis racquet, with Wilson 'Championship' nylon strings. Materials: Graphite, Composite Materials, Paint, Plastic, Leather, Adhesive tape, Ink, Nylontennis

A Donnay 'Bjorn Borg Horizon Graphite Midsize' racquet and vinyl cover with zip Materials: Metal composite, Plastic, Adhesive tape, Leather, Nylon, Vinyltennis

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.8 (i.e. 8kgs capacity), one of a set. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. Number “8”. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [8] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "LA/89"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known ahipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.4 (i.e. 4kgs capacity), one of a set of three. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London.Number or. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [4] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "L89"flagstaff hill, warrnambool, 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, graphite crucible, plumbago crucible, morgan's crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

An Head 'Tournament Director' tennis racquet, with: aluminium frame with twin shaft; plastic bridge and butt cap; light brown leather handle grip; and 'Graphite 6' netting. Manufacturer's name features across base of bridge, and across butt cap. Model name features along outer left shaft. Materials: Metal, Graphite, Leather, Plastic, Adhesive tape, Paint, Ink, Papertennis

An Head 'Arthur Ashe Competition Edge' tennis racquet, with: graphite frame with open throat; grooved outer crown; plastic butt cap; and, leather handle grip over hard plastic shaft encasement. Manufacturer's name features across base of head. Model name features along left side of throat. Materials: Graphite, Plastic, Nylon, Leather, Adhesive tape, Inktennis

A grey Bancroft 'Laser' composite (graphite/fibreglass/wood) tennis racquet, featuring open throat; nylon net strings; black leather handle grip; and red & white butt cap. Manufacturer name printed on bridge. Logo embossed in red on butt cap. Model name printed along shaft. Materials: Fibreglass, Wood, Adhesive tape, Ink, Leather, Plastic, Graphitetennis

A Dunlop 'Eclipse' tennis racquet, with black Gosen 'Hy-Sharp' netting. Materials: Graphite, Carbon, Paint, Plastic, Leather, Ink, Synthetic material, Adhesive tapetennis

A Puma 'Boris Becker Super (PCS)' tennis racquet, and a vinyl racquet cover. Materials: Graphite, Fibreglass, Adhesive tape, Leather, Vinyl, Nylon, Plastic, Metaltennis

A Puma 'Boris Becker Super (PCS)' tennis racquet, and a vinyl racquet cover. Materials: Graphite, Fibreglass, Adhesive tape, Leather, Vinyl, Nylon, Plastic, Metaltennis

A Puma 'Boris Becker Winner' tennis racquet. Handle sealed in clear plastic. Materials: Graphite, Composite Materials, Adhesive tape, Leather, Nylon, Plastic, Metaltennis

A Wilson 'Pro Staff 5.7' racquet. Handle sealed with clear plastic and adhesive sticker. Materials: Graphite, Plastic, Nylon, Adhesive tape, Rubber, Adhesive labeltennis

An Osan 'Macro 2001' graphite tennis racquet with open throat, plastic butt cap and handle wrapped with leather. Manufacturer's name and model name on side of right throat pillar. Manufacturer's 'double half-moon' logo features on lower section of throat and on butt cap. Manufacturer's logo and name are printed repeatedly on leather grip wrap. Materials: Adhesive tape, Leather, Ink, Vinyl, Graphite, Plastictennis

A two-piece object, comprising of: a Rayco 'Ruler' graphite tennis racquet, with a split shaft, and synthetic handle grip (1); and, a vinyl cover, featuring model name and measuring ruler device along the length of cover (2). Racquet is accompanied by a copper screw, sealed in a small transparent bag. Materials: Graphite, Synthetic material, Plastic, Ink, Paint, Adhesive tape, Nylon, Vinyl, Ink, Metaltennis

Two (.1-.2) identical ATP 'Mid' Fox tennis racquets, with fluoro yellow netting. Materials: Graphite, Leather, Ink, Adhesive tape, Nylon, Plastic, Painttennis

A Wilson 'The Incredible Hulk' racquet with green grip tape, featuring graphic elements from 'The Incredible Hulk' by Marvel Comics. Materials: Graphite, Plastic, Nylon, Adhesive tapetennis

Limited edition (138/850) print of pastel work by Luis Morris of tennis player Greg Rusedski serving. Materials: Ink, Wood, Paper, Glass, Metal, Graphitetennis

Two identical Head 'Tournament Director' tennis racquets (.1 and .2), with: aluminium frame with twin shaft; plastic bridge and butt cap; dark brown leather handle grip; and 'Graphite 6' netting. Manufacturer's name features across base of bridge, and across butt cap. Model name features along outer left shaft. Materials: Metal, Graphite, Leather, Plastic, Adhesive tape, Paint, Ink, Papertennis

A Yamaha 'Secret EX' Carbon Graphite tennis racquet, featuring: open throat, truncated shaft; nylon net strings; grey synthetic handle grip; black plastic shaft casing; and black plastic butt cap. Manufacturer name printed on inner sides of head. Logo embossed on butt cap. Model name printed on outer edges of shaft pillars. Materials: Graphite, Plastic, Nylon, Adhesive tape, Painttennis

Two part object. (1) An Esquire 'Saturn' tennis racquet with open throat and handle wrapped with leather. Manufacturer name across base of head. Model name printed along pillar of throat. Words '100% GRAPHITE' printed on crown. Plastic butt cap features manufacturers 'E' logo. Logo also featured at base of shaft. Materials: Graphite, Adhesive tape, Plastic, Leather, Ink, Vinyl, Metaltennis

A Yonex 'R-7' graphite composite tennis racquet with open throat, plastic butt cap and handle wrapped with leather. Manufacturer's name on base of head. Model name printed on base of throat. Manufacturer's 'double Y' logo features on top section of handle and on butt cap. Manufacturer's logo and name are printed repeatedly on leather grip wrap. Materials: Adhesive tape, Leather, Ink, Vinyl, Graphite, Plastictennis

A Limao Professional squash racquet, with open throat/split shaft, and synthetic leather handle grip. Materials: Graphite, Ceramic, Fibre, Nylon, Leather, Adhesive tape, Plastic, Inktennis

A Pro Kennex 'Bronze Ltd' oversize tennis racquet, featuring Ashaway strings. Materials: Graphite, Fibreglass, Paint, Plastic, Leather, Adhesive tape, Ink, Adhesive label, Nylontennis

A Yamaha 'XAM 8' Boron & Carbon Graphite tennis racquet, featuring: open throat, truncated shaft; nylon net strings; blue synthetic handle grip; black plastic shaft casing; and black plastic butt cap. Manufacturer name printed on bridge. Logo embossed in silver on butt cap. Model name printed on base of shaft and outer edges of shaft pillars. Materials: Graphite, Plastic, Nylon, Adhesive tapetennis

A Fila 'Grand Champion' graphite tennis racquet, with: split shaft, reinforced by narrow bridge across centre; leather handle; plastic butt cap; and, Wilson 'Championship' nylon netting. Fila logo and model name feature across lower right of head. Fila 'F' trademark features on base of shaft. 'Racquetech' sticker features on butt cap. Materials: Graphite, Nylon, Leather, Plastic, Ink, Adhesive tape, Paint, Papertennis