Portrait of James & Mary Walker. Mary nee Shreeve, was Ellie McClures Auntie. James and Mary owned a Bakery in Patrick Street Stawell.Portrait black & white photo of a gentleman seated and a woman standing beside him. Boarder around the photograph.stawell

Portrait of Jane D’Alton (nee Galbraith) taken in studio standing beside chair. The woman is dressed in long frock bodice buttoned with bottom of frock quite elaborate. c 1890Black and white photograph of a woman standing beside a decorative chair. The dress is ballooned to the ground with an elaborate hem. Bodice buttoned with decorated jacket. stawell clothing halls gap

Portrait of Maggie Galbraith from Afton Lodge Stawell. Frock has high neckline and hair parted in centre.Black and white photograph of a young woman, her dress has a high neckline and hair parted in the center.from Afton Lodge Stawell.stawell clothing

Portrait of Peter Galbraith. Short hair trimmed beard buttoned coat. Peter Galbraith Share - Broker and Mining investor. Francis Watkins established his Monumental works in Stawell in 1864. Francis was impressed with the immense outcrop of stone at Mount Difficult so persuaded Peter Galbraith to form a company to exploit the stone.Black and white photograph of a young gentleman, with short hair, trimmed beard in a buttoned shirt and coat.1838 - 1896stawell

Part of S E Surman collection (album) page 18. Portrait of child and baby, child may be Victor Thorpe, baby is sibling?Sepia studio photograph of young boy with long hair wearing short trousers, top, shoes, socks and large brimmed hat, standing with left arm resting on prop behind, right hand holding toy, beside a very young child in gathered dress shoes and socks seated beside.victor thorpe, surman collection

Part of Old Lintonian collection ; No. 54.Sepia portrait of a young man with moustache wearing suit with wide lapels, high collared short and wide tie.james howells, old lintonian collection

Amelia (Millie) Bennett was a daughter of Susan and William Garnsworthy Bennett. She married William Charles Allen in 1901.Black and white portrait of a middle aged woman wearing top with flowers at left lapel, and three strand pearl necklace, earrings."Mrs Allan Aunt Millie was Millie Bennett".millie (amelia) allan, millie (amelia) bennett

Identified in the back row are Charles Kelly, Kathleen Evans, Robert Evans and Vera Kelly. In the front row are Nancy Carlson, Jack Kelly, Irene Carlson and Irene Evans. Sepia coloured wedding photo believed to be of the Evans family. The party is comprised of the bride and groom, 2 female attendants, 2 male attendants & 2 flower girls. The bridesmaids are wearing large hats. The general style of dress is indicative of the mid-1920s. There is considerable superficial loss due to silverfish damage. The photo is mounted on a brown cardboard matt which is badly foxed.Printed on front: The Marlborough Studios 125 Swanston St Melbourneevans family, weddings, portraits, evans wedding portrait, kelly, charlie, evans, kathleen, robert, vera, carlson, nancy, jack, irene, george evans collection

Portrait of Alfred Clemes. Chemist then Shire Secretary. Alfred Clemes was a Shire Secretary from 1871-1915. He was born at Austell, Cornwell in 1829. Clemes arrived in Pleasant Creek in 1858 where he set up a business as a chemist. Ref p.91 "Good Country for a Grant" A History of Stawell Shire by Robert Kingston. Black and white photograph of a bust of a male, with full beard - white shirt, dark buttoned coat. Setting oval with design in corners. Mounted in brown folder.Hand written on back of folder Mr. Clemes Secretarystawell

Portrait of Jean Pierre Trouette who planted vines at St Peters Great Western 1862. Jean Pierre Trouette, was a Frenchman who had difficulty obtaining a block of land at Great Western about 1862. He was permitted to purchase a small allotment on the Concongella Creek in 1863. In 1863 Jean Pierre and Mr. Blampied began planting grape vines. The winery that Trouette and Blampied established was called St Peters. Jean Pierre was Shire President in 1876. E. Blampied was also Shire President in 1887.Black and white photograph setting oval in a rectangle, mounted in a brown folder. The male is neatly dressed, trimmed hair and beard.great western shire president

Portrait of George Jennings "Mayo Park" Lubeck. George Jennings was elected to Old Roads Board in 1863. Except for the years 1882 - 84. He served on the Council until 1891 - 1874 Shire President. From County Galway in Ireland. Jennings arrived in Pleasant Creek in 1858. For many years he owned "The Western Turf Hotel at Quartz Reefs. Selected land on the Ashens Run - settled there in 1870.Black and white photograph of a male in a oval setting with decoration in corners making a rectangle. Photograph in brown folder. The male is dressed in a suit, tie at neck of shirt, short hair and with a beard. Also an enlargement of studio photograph.George Jennings Mayo Park Lubeck written in biro.lubeck stawell shire president

Prudence Partington was born in 1858 at a cottage at the Watsonia Toll Gate operated by her father Charles. The family later moved to Willis Vale. After their parents’ deaths, Maria and Prudence moved to a house in Sellars Street Watsonia in 1890. They lived together until their deaths in 1930, just two months apart.A pioneer Greensborough family.Sepia studio photograph of woman.prudence partington, portrait photographs, partington famiy

S. S. ROWITTA: - The 1909 steam ferry, S. S. Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. S. S. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. The Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 the S. S. Rowitta was purchased by Flagstaff Hill to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting the S. S. Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. Arthur Victor Gregory (known as A. V. Gregory) was born in Melbourne in 1867. He was the son of George Frederick Gregory who was an established marine painter with a studio in South Melbourne. A. V. Gregory worked with his father and his elder half-brother (George Frederick Junior). They made numerous photographic reproductions of their ships' portraits, selling the originals to captains and owners and the photographic prints to the crews. A. V. Gregory inherited the business on the death of his father in 1890 and continued to paint until World War 2 when he stopped for wartime security reasons. Gregory worked mainly in watercolour and gouache. He kept all his working sketches so he could repeat earlier paintings and make more copies of the same ship. His carefully detailed portraits of every kind of vessels seen on Port Phillip Bay created a body of work regarded as a valuable record of the maritime traffic of that period.This print is a significant example of the work of the well-known and well-respected marine painter A. V. Gregory who created a detailed record of shipping in the Port Phillip Bay area in the years before W.W. 2. It is also significant as it connects the history of the S. S. Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The S. S. Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles and is significant for its association with Tasmanian history from the early to mid-1900s. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years.This is a photograph of a watercolour painting of the S. S. Rowitta. It shows a steamer moving through the water. The ship has a blue, metal hull, a wooden lower and upper deck, a lifeboat and smoke coming out of a chimney. Flags are flying from the bow, the stern and the mast. Seven figures can be seen on the decks. A second boat can be seen in the distance in the far left of the picture. It has the signature "A. V. Gregory - 12" in the bottom left corner and the title "S. S. Rowitta - 121 tns" in the lower right corner.Signed "A. V. Gregory -12-" Titled "The S. S. Rowitta / -121 tns" Printed on the ships' bow - "ROWITTA"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, s. s. rowitta, rowitta, a. v. gregory, painting, marine painting, marine painter, steamer, steam ferry, passenger ferry, alfred gregory, tarkarri, sorrento, speculant, print, photograph

Framed black and white photograph of Tilly Aston. Tilly sits with one hand resting against a table, and the other in her lap. She is wearing a black collared dress with a white lace neck ruff held with an opal pin. Two medals (the Jubilee medal and Coronation medal) are pinned to the chest (one a red bowtie, the other is a brass medallion). At the base is a handwritten inscription: Miss Tilly Aston/ Founder of Assocation for Advancement of the Blind / in 1895 and Leader until 1947.B/W photograph in black frametilly aston, artwork

"John Alexander Brown", No 372. Enlisted 14.8.14 in 9th Light Horse Reg. C. Squad. Embarked 11.2.15. Gallipoli 16.5.15. Discharged 23.9.19 at rank of Sergeant. WIA 26.8.15 in left arm and discharged from hospital 25.10.15. Transfer to PRO CORP 5.12.16. Hospitalised with pneumonia 25.7.17. promoted to Sgt 24.2.18.1. Sepia photo of John Alexander Brown in full uniform standing in a formal pose looking into the camera. Image in an oval circle on portrait photo. 2. Brown folded cardboard cover for photo with a woman's head pressed into the front cover.Scribbled on back "Cousin, Alex Brown, from Woodstock on Loddon, Married to L. Chambers (or L. Hambers).john alexander brown, ww1, photograph, baxter mc

Framed photographs 7864P and 7865P. Both unknown persons. Photograph - black and white full length portrait photograph of a soldier in uniform. Studio type photograph with wall and window in the background. C.WW1. Frame - timber with dark brown stain. decorative moulding with inner edge of gold colour plain timber. Mount - timber ply wood with light brown finish and glass front. Backing - cardboard (replaced).On back of photograph - handwritten grey lead pencil "Mrs Long/ 20 Irvine St/ 3 1/2 Oak ??? 3/4 ???/ Dark oak 10/-"framed accessories, portrait, army, coates family 1

Framed photographs 7864P and 7865P - both unknown persons.Photograph - black and white mid length portrait photograph of a woman dressed in evening wear. Studio type photograph with window, plants and plant stand in background. c.WW1. Frame - timber with dark brown stain. Decorative moulding with inner edge of gold colour decorative timber. Mount - dark brown cardboard, glass front and cardboard backing.framed accessories, portrait, coates family 1

Robert Clark was a self educated man who had arrived in Australia with his step father to take up mining in 1854. He worked in several local mines and being familiar with the hardships associated with mining life, helping to establish the eight hour day for miners. Robert married Sarah Jane Kernaghan in 1862 and together they had nine children. Robert Clark was first elected in 1872 and remained a councillor until his death in 1883. He died aged 41 years. This elaborate Letter of Appreciation was hand drawn and painted by artist and photographer Frederick de Kock who was associated with Mr N Caire's photographic Studio, View Place and by 1882 was producing and teaching hand painting on ceramics. In 1883 he advertised as a photographer with his own studio on the corner of Mitchell and King Street, which was later named the Bendigo Portrait Rooms. 180.1 Donated by Jenny Taylor; 180.2 Organisational created. Illuminated Letter of Appreciation in shape of arched window. From Sandhurst Pioneer Co-Operative Co Limited to Robert Clark. Hand drawn and painted on card. Signed by eight directors.mayor city of sandhurst, councillor robert clark, mayor clark, mayor of the city of sandhurst

Richard Dermer Smith (1860-19130 was a professional photographer active in Sydney NSW and Melbourne, Sandhurst and Bendigo VIC. In Bendigo he operated from the Royal Duke Hotel, 20 Bull Street, between 1897 and 1908 before returning to Melbourne. Bendigo Advertiser ''The way we were'' from 2002. Portraits: photos taken in Bendigo by photographer R. Dermer Smith who had a studio in Bull Street from about 1897 until 1908. The clip is in a folder.newspaper, bendigo advertiser, the way we were

George Frederick PIERCE No 2839 AIF. The photo shows him wearing the award of the “DCM” which has been superimposed on the photo. George enlisted on 29.6.1915 age 20 years in the 9th Reinforcements 6th Bn AIF, embarked for Eygpt 9.10.1915, embarked for France 2.4.1916, Awarded the Distinguished Conduct Medal in 1917, KIA Belgium 4.10.1917, no known grave. DCM award. For Conspicious Gallantry and Devotion to Duty. He took Command of his Lewis Gun Section in an attack and bombed an enemy Machine Gun post single handed and captured the Gun. He later carried ammunition to the front line through heavy barrages. He set a splendid example of devotion and courage. This photo has been cropped out of the original which had 3 soldiers in it. Refer Cat No 5459P This is the first item in a large collection that belonged to William (Bill) Thomason. Bill served in the RAN from 1947 - 1949. He was the Author of 3 books: "Marching On", Cat No 4821, "March to Ranau", Cat No 862 and "March to Waikato", Cat No 5289. Bill was a collector and ran a small Military Museum in View Street Bendigo for a time.Photo B & W, portrait of a soldier with studio background pasted onto a larger grey background with flowers, flags, kangaroo, emu and details under. On the cardboard, writing relates to the award of the “DCM”. The grey background has a darker surround and red stamp in the right hand corner.“No 2839 Pte G.F.PIERCE DCM (Infy)”photography, military, remembrance

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

Portrait - I.O.O.F. Bro. J.A. Gray c1920’sstawell

Portrait - I.O.O.F. Bro. W.G.D. Marshall c1920stawell

Portrait - Cr. H. Edhouse c1890 (Framed Photograph)stawell

Portrait - Rees Family c1895stawell

Portrait - Cr. Martin Doyle c1890 (Framed Photograph) 1st Town Clerk 1869 -1880stawell

It is believed Private C SMITH is one of the soldiers featured in this photograph. Private John Claude SMITH 2020 was born 2/8/1893 at Wangaratta He was employed by the Railways and trained in Liverpool, NSW. He enlisted on 8/2/1915 and embarked on 9/8/1915 from Sydney on the "Runic". He served with the 18th battalion on the western front and was discharged on 27/5/1919. Many soldiers going off to the war had a photograph taken of themselves in uniform, often a studio portrait taken by a professional; many also carried a photograph of a loved one with them. But most people were still rather formal and camera-conscious, and smiling for the camera was not usual. Timber frame containing image of two soldiers within a map of Australia below a crown in top centre position with Union Jack and Red Ensign flags in the background. Back has been re-mounted with chipboard. Has wire hangings on the back.ww1, north wangaratta, 18th battalion