A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This book was issued to Junior Postal Workers in Bendigo to guide them in the delivery of telegrams and designed to fit into their delivery satchels and carried while on the job. In the early years telegrams were delivered by bicycle and this manual is part of the postal collection donated by the Rankins family in memory of Ted. Small, blue, vinyl covered manual. Contains thirty printed pages covering all aspects of how to correctly deliver telegrams. Topics include 'Loss of telegram', 'Undelivered Telegram', 'special Delivery' and 'Beware of Dogs'. Bound with two ring metal clip. Front cover; Australian Post Office / Telecommunications Division / Telegram / Delivery / Instructions / Headquarters / 1962 Various annotations and updates throughout. ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

This photo is part of a collection of Wodonga Town Photos donated by Elaine Mann. Elaine was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community. The Terminus Hotel In 1873, James Thompson Hatch built the two-storeyed Terminus Hotel at 79 Sydney Road (later known as High Street), then sold it to George Day and Kenneth McLennan for £1,230. It was first licensed to J. G. Morton in January 1874. In 1879, Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms, after she and her husband, George James Allen, purchased it. He became licensee in 1883. Under the Allens, the Terminus became, ‘a principal rendezvous for visitors to the town.’ September 1888 saw additions to the building that included a billiard room, a dining room, and 18 other rooms. Following the death of her husband in 1889, Annie Allen continued to run the Terminus Hotel. She later married John Haldon and was licensee of the hotel until 1893 when the licence was transferred to William Carkeek. In the early 1900s the Hotel was thoroughly renovated. The Terminus Hotel was for sale by auction on 5th March 1909. It comprised about 50 rooms, a two-storey building built of brick and iron with hot and cold water service and acetylene gas throughout. The principal hotel in Wodonga, was let from 1st January 1909 on a seven years’ lease at a rental of £9 per week. 1935 saw extensive improvements by proprietor W. P. Kinney, while in 1941 further extensive improvements were carried out to make a good hotel better. A pall of shock and disbelief descended over Wodonga’s historic Terminus Hotel on 1st June 1998 when it was destroyed by fire then demolished in 1999. The site was sold for almost $1 million and redeveloped for a medical clinic.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.Terminus Hotel; Gippsland & Northern Co-operative Pty. Ltd.; Graham Bradbury Men's Hairdresser; Patricia Anne Fashions; Australian Mercantile Land and Finance Company (A.M.L. & F). on the west side of High Street. The Terminus Hotel was built C. 1873. and was destroyed by fire in 1998, The Gippsland and Northern Co-operative Co. Ltd was formed in 1905, but the date of its establishment in Wodonga is not confirmed, but they were holding fortnightly sales at the Wodonga sale yards by early 1919.wodonga businesses, high st wodonga, terminus hotel, gippsland & northern

A supplement to celebrate 150 since the establishment of the Port Phillip Colony (Victoria).40 page newspaper published to celebrate the Sesquicentenary of Ballarat. Articles include: 1838-the pastoral period begins; First White Settlers arrive (Anderson, Winter, Yuille, Kirkland, Learmonth); Learmonths - Pioneer Settlers; The Rush to Ballarat; Last of the Aborigines; Eureka Affair Gains New Importance; Mining-After the rush; SMB - First Technical School; Clubs Play their Part; Ballarat Yuilles had Wealthy Ancestors; Town, Country Share a Close Relationship; Many Sides to Metals Industry; True Victorian City; Five Severe Recessions; Financiers to the Fore; Ready for War; City Rich in Sport Facilities; Visitors to most exciting place; No Place for a Nervous Lady; Theatres Provide Welcome Diversion for Mines; Might Achievers Among famous Citizens; Life Seemed Different After the War; Ballarat School of Mines Eastern Station Hotel; Memorial (Her Majesty's) Last of Many Theatres; Art Gallery at its Best; Pilgrimage to Yuille Cairn at Sebastopol Images include: Jelbart tractor; Sunshine Harvester; Bailey's Mansion; Pennyweight Hotel; Bridge Mall; Blue Riband Mine, Black Hill, Burrumbeet Shooting party; A wendouree rowing club; Motor Cycle Racing; Women bowlers, Queen Elizabeth; Gong Gong Methodist Church; Arbour day at Waterloo Farm, Smythes Rd; Gold panners (1890s); Ballarat Cricket Team (1902); William Peart; D'Angri's store; Sturt St Advertisements include: Rehfisch and Co.; UFS Dispensaries; Deutscher Mower Sales and Service; Haymes Paint; Cincotta's; Abraham's Sportscene; McK's; McKay Macleod; St John of God Hospital; Benjamins Real Estate; Ballarat Water Board; Cornell's Pharmacy; Laminex Industries; Coltman Mitre 10; Lal Lal Iron Mine; Heinz Bros; Crockers; Frank ford travel; S.J. Weir; Ludbrook Plumbing Service; Mars; Robert Sim Building Supplies, Frank Day; Sectrol Systems; Thornton Richardsballarat, anniversary, sydney abraham, cincotta, eureka, ballarat school of mines, mining, ballarat club, lal lal iron mine, ballarat rangers, victorian rifles, 3rd battalion victorian rifles, ballarat militia, white flat, celia scott, adelphi theatre, victoria theatre, montezuma theatre, charlie napier, juliamatthews, royal theatre, dick richards, henry sutton, eleanor lucus, martin hosking, newington estate, saleyards, g. gay & co, ballarat books, old benev' alleviated distress on goldfields

Set of 28 photographs of the operation of the BTM during the Begonia Festival, including the loading of the Horse Tram for Melbourne on Sunday 10/3/2002, operation in Melbourne on 11/3/2002 and reloading in Bourke St. Taken by Warren Doubleday, on Kodak paper. 2013.1 - Tram 671, Wendouree Parade, 10/3/2002 at Depot Junction .2 - 33 at Loop .3 - 40 and 33 south of the loop, heading for Carlton St. .4 - ditto .5 - 671 returning to the loop from St. Aidans Drive .6 - 40 returning to the loop from Carlton St. .7 - 33 ditto .8 - Loading horse tram at Depot Junction - Alastair Reither .9 - ditto .10 - in St. Kilda Road, 11/3/2002 at about 7.30am .11 - ditto .12 - Tram in Moomba parade, 11/3/2002 - Reg Smith, Len Millar - horse Bear. .13 - ditto .14 - ditto .15 - ditto, after passing with the Ned Kelly's. .16 - ditto - and John Clowes on rear platform .17 - the line up near Bourke St. with V214 behind the horse tram - "Tram Stop Ahead" sign .18 - the line up from Bourke St. with Hawthorn 8 alongside. .19 - Being photographed - Arthur Cook, Roma Cook, Merle Clowes and John Clowes with other visitors .20 - ditto .21 - Malcolm tram, and BTM ten in the background .22 - BTM and Sydney Tramway Museum tent in the City Square area. .23 - Pushing the horse tram across Bourke St. - John Clowes. .24 - Loaded back on the Crane Heavy Haulage (Associated Towing) truck, looking north along Swanston St. .25 - ditto .26 - ditto, general scene in Swanston St. .27 - The towing truck and tram .28 - Hawthorn 8 and Milan 1692 crossing Bourke St. Negatives held on file with documents list.horse trams, depot junction, moomba, gardens loop, swanston st, tram 1, tram 33, tram 40, tram 671, tram 8, tram 214, tram 1692

Field Marshal Viscount Kitchener of Great Britain was invited by Prime Minister Deakin in 1909 to visit Australia and advise on the best way to provide Australia with a land defence. Kitchener’s report echoed the bill, introduced to Parliament in 1909 and supported by the Opposition Labor Party at its 1908 conference, to introduce compulsory military training in peace time (referred to as universal training). On 1 January 1911, the Commonwealth Defence Act 1911 (Cth) was passed as law and all males aged 12 to 26 were required to receive military training. Men were divided according to age, with junior cadets comprising boys 12-14 years of age, senior cadets comprising boys 14-18, and young men aged 18-26 assigned to the home militia defence. The support of schools was vital to the success of the scheme, since the system of cadet training began in the primary schools, with physical training prescribed by military authorities. Junior cadet training was entirely in the hands of school teachers, who had first been trained by military officers. This early training was less military in nature than focused on physical drill and sport. It also acted to inculcate boys with the notions of loyalty to country and empire. At this age, uniforms were not worn, although there were schools with pre-existing uniformed cadet units, who continued to do so. Senior Cadets were organised by Training Areas, administered by Area Officers. If a school had at least 60 senior cadets, they could form their own units. Unlike their junior counterparts, Senior Cadets were issued uniforms, a rifle, and learned the foundations necessary for service in any arm of the defence forces. Boys and men could be exempted from compulsory training if they lived more than five miles from the nearest training site, or were passed medically unfit. Those who failed to register for training were punished with fines or jail sentences, and the severity of this punishment generated some of the strongest opposition to the scheme. While institutions such as the political parties and most churches generally supported universal training, some in the broader labour movement were less enthusiastic, as evidenced in the Daily Herald newspaper’s editorials and letters. Universal military training persisted after the conclusion of World War 1, with the Junior Cadet scheme the first to go, in 1922. Senior cadets and service with the militia was suspended in November 1929. (http://guides.slsa.sa.gov.au/content.php?pid=575383&sid=4788359, accessed 29/10/2015) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Mounted sepia photograph of 21 young males. They are the Ballarat School of Mines Cadets on a training camp at Lake Learmonth. Back row left to right: Harold Wakeling; ? ; T. Wasley; H. Witter; H.V. Maddison (staff); Lieutenant S.J. Proctor, Joe ? ; ? ; B.C. Burrows. Centre left to right: Howard Beanland; ? ; F.N. Gibbs; H. Siemering; P. Riley; ? : E. Adamthwaite. Front row left to right: Albert E. Williams; Francis Davis (RAAF Dec.); A. Miller; W. Shattock; T. Rees From the Ballarat School of Mines Magazine, 1916 "Our Competition Team, 1916 At a parade, held on the 25th August competition teams were called from from the three colleges - Ballarat College, St Patrick's College, and the School of Mines. In each case, a large muster was obtained, twenty-nine volunteering fro the School of Mines. On account of the number in a team being limited to 21, some had to be weeded out. The team decided to have a camp at Learmonth in the vacation for the benefit of training for the coming competitions. The tents, within our baggage, were brought to the Junior Technical School at 10 a.m. on Monday, 11 September. Everything was carted to the station on a lorry, which was very kindly lent by Mr C. Burrow. ... Arriving at our camp, which was in the Park, we first raised the tents. This was done in record time. Three large tents, A.B.C., were pitched one behind the other. We also pitched a smaller one to act as a provisions tent. The provisions supplied by each cadet were placed in this tent. Dinner was ready by 3.30, and was prepared by the three senior non-coms., who also acted as orderlies. Things went alright Monday night, the two senior non-coms. acting as sentries for the first two hours. On Tuesday morning Reville sounded at 7. There was no need for it, however, as nearly all the cadets were up before daylight, owing to their beds being too hard. After physical exercises were gone through we had breakfast. We then had rifle exercises until Messrs A.W. Steane and F.N. King arrived. The former put the team through the table of physical exercises set down for competition work, many valuable points being obtained. The visitors remained for dinner, afterwards returning to Ballarat. Wednesday was uneventful, until the soldiers arrived at about 11 a.m., stopping at the park for lunch. As we handed over the coppers, etc., to them, our lunch was delayed. Two more visitors arrived after lunch, and after taking a few photos returned home. That night we had a "Sing-a-long" in C Tent until "Lights out" sounded at 9.30. After physical exercises ad breakfast on Thursday, we went for a six mile route march round the lake, doing skirmishing on the way. In the afternoon we practised rifle exercises and the march past. A concert was arranged for that night, the chief singers being cadets H. Siemering and W. Shattock. Supper was served at the end of the entertainment. On Friday, Reveille sounded at 6.30 instead of 7, and, as usual, we had physical exercises before breakfast, after which the team went through skirmishing at the reserve. In the afternoon, section drill and the march past were practised. Friday night, being our last night in camp, leave was granted until 10 p.m., "lights out" sounding at 11. Reveille sounded on Saturday at 4.30, the reason being that all kits, tents, etc., had to be packed away ready to catch the 8.15 train to Balalrat. At 7.30 we were all ready to leave for the station. We had a very enjoyable time in the train, each cadet having a chip in at the patriotic songs. On arriving at Ballarat, we found the lorry awaiting us. The luggage was carted to the Junior Technical School, the team following. The team were here dismissed, everyone feeling that he had had a very good time. F.G. Davis"Written in ink on front 'cadet camp at Lake Learmonth about 1916. Training for South Street Competitions. ballarat school of mines, cadets, ballarat school of mines cadets, lake learmonth, world war one, boomerang, camp, cadet camp, h.g. wakeling, harold wakeling, f.g. davis, albert w. steane, f.n. king, h. siermering, w. shattock, francis davis, harold wakeling, t. wasley, h. witter, h.v. maddison, s.j. proctor, b.c. burrows, howard beanland, f.n. gibbs, h. siemering, p. riley, e. adamthwaite, albert e. williams; francis davis, a. miller, w. shattock, t. rees, photography, foto, boxing gloves

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

A woman, an elderly woman and two children pose on the verandah of a Federation style home. On the back of the postcard is written: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills". This family is possibly related to the Rev Wm Green who was associated with St Margaret's Church Eltham at around this time. Evelyn Observer and Bourke East Record, Friday 6 March 1914, page 2 A very pleasant social gathering was held by the Glee Club in the Church of England schoolroom on the evening of last Thursday. An interesting programme of music, varied by a very amusing dialogue by Glee Club members; made an enjoyable evening. After the programme was finished, and before refreshments were served, Mr, Gilsenan, on behalf of the Glee Club and the visitors, expressed their good wishes to Rev. Wim. Green, Mrs. Green, and Miss Mills, who were leaving on the 3rd inst. for a visit to the old country. Mr. Green responded, reciprocating the good wishes expressed. The gathering broke up to the strains of "Auld Lang Syne." Evelyn Observer and Bourke East Record, Friday 11 December 1914, page 2 The Rev. Wm Green, Mrs. Green, and Miss Mills; who have been on a nine months' trip to Europe, returned to Melbourne by the "'Morea" on Monday and out to Eltham the same day. As the rev. gentleman only left England a few weeks since and the continent just before war broke out, he ought to have some reminiscences worth listening to; His return is welcome both to his church, and the community generally, the more so he being the only resident clergyman in the neighbourhood. Evelyn Observer and Bourke East Record , Friday 11 June 1915, page 3 The Rev. Wm. Green, who has been in charge of St. Margaret's Anglican church here for some eleven years, resigned to take charge of the Church of England " Messenger". and work in connection with the ? about Melbourne. He is to be succeeded in Eltham by the Rev, ? Sapsford, of North Brighton. Printed postcard with faded photograph on frontInscribed back: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills" Also inscribed in pencil - "V. Lay" (Vera Lay Greensborough)eltham, 1915, m. mills, mrs green, postcard, v. lay, houses

The Launch Master Frederick Heather was licensed to be Master of Launches within the Port of Launceston. Amongst the vessels that he captained was the S.S. ROWITTA. Fredrick’s son is one of the volunteers at the Low Head Pilot Station Museum, Frederick Heather is also related to a Harry Heather from Tasmania and was also a ship master, one of his ships being the "Alma Doepel", a sailing schooner built in 1903 and sailed by Harry for about 21 years until his death in 1937. Flagstaff Hill’s collection includes a painting of the Alma Doepel. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. It was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. 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 Rowitta was purchased by Flagstaff Hilt 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. It 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, it was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so it was restored back to its original configuration. The vessel 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 ongoing repairs. The vessel had given over 100 years of service and pleasure to those who knew her. The licence is significant for its association with the Tasmanian early to mid-1900s passenger ferry, the S.S. Rowitta. It is connected to the history of the 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 display was used as an aid to maritime education. The 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. 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. Launch Master's License No 8 issued to Fredrick Heather to act as Master of a steam, oil or electric launch trading within the Port of Launceston. Date issued 13th February 1920. The license is printed with hand written details added.Handwritten on License "Master's" "Frederick Heather" "Master" "13th February 1920" Also two signatures (indecipherable) of Master Warden and Secretary.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, launch master's licence, rowitta, frederick heather, port of launceston, launch master's license, marine board of launceston, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, vessel, charles street wharf launceston, sorrento

Sikh hawkers were a regular sight throughout the Wodonga and Upper Murray district in the early 20th century. The regular visitors to the area included Pola Singh and Gambil (Gamble) Singh. Gamble Singh often camped on McKoy’s Moorefield property in West Wodonga and several other places around the district. Gamble was also a horse breeder and had several draught horses to pull his wagon. Like many of the hawkers he worked hard to send money back to support family in India. He apparently returned to India about 1950, but left some money in the Bank of NSW in Wodonga in case he returned. He allegedly died soon after and the money was eventually able to be claimed by his nephews in India. A small overlooked park in Wodonga is named the “Gamble Singh Park” in his memory. J. Flanagan who operated the Halfway Hotel commented on having as many as seven or eight bullock teams “yoked” overnight to the fence outside the hotel as well as 100 or more Indian hawkers – led by the fondly known Pola (Pollah) Singh. The hawkers returned to Wodonga annually to renew their hawkers’ license and camped on the flats, or also came to Wodonga to collect orders at the railway station to stock up their supplies. Pola Singh was often based at the Colac Colac reserve near Corryong and had on board his compatriot Isar Singh. He often acted as an intermediary between the individual hawkers and the authorities. Unfortunately, it was Pola’s habit to walk in front of his wagon at the start of each day. On the morning of 23 June 1923 his horses were restive and hard to control. They took flight and ran Pola down on the road near Cudgewa. He was rushed to the Corryong Hospital but died there a few days later, aged 65. Pola was cremated, with some of his ashes scattered in the Murray River and some returned to his homeland to be scattered in the Ganges River. His cremation was listed in the Obituary page of the Weekly Times, Melbourne on Saturday 14 July 1923. A small memorial to Pola Singh is located in the Corryong Cemetery.These images are significant because they help to document the history of the Sikh Hawkers who plied their services to Wodonga and throughout rural Australia in the late 19th and early 20th centuries.A collection of black and white images featuring Sikh Hawkers Gamble Singh and Pola Singh take in the Wodonga area.indian hawkers, sikh hawkers, gamble singh, pola singh

Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc

The habitat of the Bassian Thrush includes leaf littered and canopied gullies and dense forests. It forages for food on the ground eating small invertebrates and nests in tree stumps and tree forks. Primarily found in Tasmania, South Australia and Queensland, there are three sub-species of thrush, Zoothera lunulata cuneate (Queensland), Zoothera lunulata halmaturina (South Australian and Western Bassian Thrushes) and Zoothera lunulata lunulata/Zoothera lunulata macrorhyncha (South East Australia, Queensland, Victoria and Tasmania). Because this bird is a ground foraging species, the main threat to the Bassian Thrush is the ground clearing of its habitat, and unfortunately, the South Australian Zoothera lunulata halmaturina sub-species is considered vulnerable because of the bush fires that have eliminated much of its habitat, especially on Kangaroo Island. While the overall structure of this particular representation of a Bassian Thrush is relatively accurate, some of the smaller details are lacking. The eyes within this particular specimen are not accurate. Instead of solid black eyes, this specimen has golden/yellow eyes with black pupils. Another inaccuracy is some inappropriate intrusions coming from the beak (most noticeable in the left and right close up images). From the photographs, it is unclear if this is a representative/presentation choice or a condition problem caused overtime. Unfortunately, several aging problems have also occurred over time, with the bird’s feathers fading (Bassian Thrushes have distinct dark brown and black and white scalloped plumage) and the beak which was probably once dark grey has faded to the under colour, a yellowy cream. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Bassian Thrush has white and black scalloped plumage on its underbelly with caramel, soft brown and black tipped scalloped plumage on its back. This soft brown continues onto the bird’s head and neck. The thrush has a white rim around the glass black eyes. When seen in flight, there is also a noticeable wide band across the underside of the wings which is not visible on this specimen due to its particular stance.Swing tag appears to read: ‘46a [the a is superscripted] / Mountain Thrush. / See Catalogue, Page 16. / The number in the top centre of the wooden perch reads '63'taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bassian thrush, zoothera lunulata, white's thrush, ground thrush, scaly thrush

This pair of navigational lamps or lights was fitted to the vessel S.S. Rowitta when it was renovated to become a display passenger ferry at Flagstaff Hill Maritime Village from 1976-2015. Navigation lamps are used to indicate a vessel’s position and direction of travel to other vessels nearby. This system of coloured lamps is standardised throughout the world for all marine vessels, red is for port and green for starboard, (red is for the boats right hand side). These navigation lamps were not the original fittings for this vessel but had come from a similar vessel of the same era of the early 1900’s. The history of the lamp fittings at this time is unknown. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. 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. 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 Rowitta was purchased by Flagstaff Hilt 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 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. These lamps are an historical example of navigational equipment used in the early 20th century, adhering to a navigational standard that is worldwide, and a design similar to what is still being used today. They were used on the display vessel at Flagstaff Hill Maritime Village as an aid to maritime education. The 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. 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. Two side navigation ship's lamps, quarter circle shaped metal boxes with glass window and removable lid. The lid attaches to the box using four brackets, wingnuts and screws that swing down out of the way. The window of double-thickness glass is inserted on the curved side of the box and attached by screws around the frame. The inner glass panel is coloured according to the lamp’s use; port is red and starboard green. The port lamp has a round hole cut into each of the two straight sides and an electrical fitting inside. The starboard lamp also has a hole in each straight side (one with a threaded fitting). Its lid has an additional cross bar on top that has a circular space in the centre, nuts and screws fit through holes in the ends and a folding handle is attached across the centre space. The lamps were once fitted onto the vessel Rowitta. The starboard lamp has an inscription stamped into the metal. Impressed on 3689.2; “STARBOARD PATT 8025” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, navigation lamp, navigation light, navigation equipment, starboard patt 8025, ship’s fitting, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, vessel, display rowitta, display passenger ferry, sorrento

Believed to be addressed to her cousin, Mary Ann Shillinglaw, from May ? - This could be Ethel May Bottle b. 1883, daughter of Edward Henry Bottle and step-daughter of Catherine Shillinglaw but this type of post-card photo only commenced in 1905 when she would have been 22. The girl looks more like 15. It is not known if Elizabeth Docherty (nee Shillinglaw) had any children. Born 1861 and married 1894 at 33 years of age, it is possible that she could have had a daughter who would have been 15 in 1910. "Dear Mary I hope this will find you all well. I hope Uncle Phillip is better. This is for the home it is among the lot. You must excuse me for sending one among the lot I haven’t enough to go all round. I will get more copied and send one to Carrie and Florrie. Well I think I have told you all this time I haven’t much room. So good bye from your loving cousin Mary 100 xxxxxxxxxxxxxx" Possibilities to investigate are the Kidd side families: Wilson Stewart Renolds Mills Mason Williams Post Card printed on back with photographer's details: W. Mason & Co., 144 Bridge Road, Richmond. W. Mason & Co. operated from this adress from 1903-c.1932 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 3, postcard, 1903-1932, 1910, agnes mary shillinglaw 1881-1968, ethel may bottle, mary ann shillinglaw (1880-1963), w. mason & co. photographer 144 bridge rd melbourne

Popular Grampian Mountains (The Blue Mountains of Victoria) Saturday, 1st April, 1922 at 12 o'clock On the property Halls Gap, 17 miles from Stawell Mitchell Bros & White under instructions from the Administrator of Lulu Barnes, deceased, and Mr A. H. Barnes, will offer by public auction on the property, the well known Tourist Accomodation (sic) House, "Killarney" together with 29 acres of freehold land, household furniture, stock, vehicles and sundries. The buildings consist main building of 8 rooms, kitchen, bathroom, vestibule, front and side passages, with verandah on front and side of building, also 3 roomed cottage with bathroom, 5 chalets containing 7 bedrooms, storeroom. wash house, water and gas laid on throughout. 4 cars, cow sheds, yards, pens, and sundry outbuildings. The furniture is all in first class order, consisting of beds and bedding for 30 visitors. Carl Ecko piano, splendid instrument; overmantle (sic) suites of furniture, extension tables, card tables, book case, sideboard, cupboards, dining table and chairs, linoleums, mats, wardrobes, duchess-chests, washstands and ware, curtains, pictures, ornaments, iron safe, kitchen tables, chairs, stove, separator, copper, large assortment of glassware, crockery, cutlery, kitchen utensils, and everything necessary for running the house. Rolling stock and C, consisting of 5 buggy and saddle ponies, 2 milch (sic) cows, 4 head young cattle, 3 pigs, 30 fowls, single seated hooded rubber tyred buggy, nearly new, 2 seated drag, carry seven, in good order; double seated buggy, gig, waggonette (sic), carry one ton; lorry, spring dray, double furrow disc plough, garden plow (sic), roller, garden roller. 6 saddles and bridles, almost new, large quantity of heavy and light harness, swing bars, chains, and numerous sundries. NOTE - The property will be offered with furniture, rolling stock & c., as a going concern at 12 o'clock sharp; and if not sold the furniture, stock, & C., will be offered TERMS AT SALE. MITCHELL BROS. & WHITE. AuctioneersTyped extract of advertisement for auction of Killarney from Stawell News 25-3-1922 later known as Grampians Housemedia, newspaper articles, guesthouses, killarney

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. This painting is of Eagle Rock, Warrnambool, which is on the west of Port Phillip Bay. Eagle Rock is located about 400 metres west of Thunder Point, near Shelly Beach. The painting includes the rocky cliff formations looking east towards the Warrnambool Breakwater. The walk from the Thunder Point car park westwards to Shelly Beach has been popular over the decades with residents as well as tourists. Many photographs include the rock, with varying backgrounds depending on the angle of the camera. It is a popular dive site for locals and visitors, in calm weather! The site can be approached by boat from the open sea in favourable conditions, and there is plenty of native marine to be seen in this marine sanctuary. This part of Warrnambool’s rugged coastline is unprotected from the Southern Ocean with its wild icy winds and high seas. The painting’s crashing waves and the northerly direction of the smoke on the steamship sailing north show the effect of the southerly wind. INSCRIPTIONS “Mrs M Irby” and “980/Regency” The significance of the inscription “Mrs M Irby”, on the back of each of the two paintings, has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of rock formation and cliffs, two yachts, a two-masted steamboat with red funnel and smoke, flying birds, high waves breaking onto rocks, blue sky with clouds, some tinted pink.. The title is painted on lower left corner and the artist, W. Langley-Taylor, has signed his name on lower right. The inscription on the back is a handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “EAGLE ROCK, WARRNAMBOOL, VIC.” Handwritten on back “Mrs. M. Irby” and “980 [underlined] Regency”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, eagle rock warrnambool, w. langley-taylor, oil painting, wall decoration, seascape of victoria's coast, mrs m irby, art, seascape, pair of paintings

Mr. and Mrs. Tabulo, who owned the house between 1945 and 1965, created Fairyland in the 1940s. Fairyland was open to the public, especially children, who were invited to write their names in visitors’ books. These are now in the possession of the Kew Historical Society. Following the sale of the house after Mrs. Tabulo’s death, the garden and content of the house was cleared of its previous adornments. Grace Tabulo died in 1965. "CHILDREN LIVING IN THE ONE STREET soon find out which house will welcome them and which house to avoid. Few children in few streets have ever had such a find as those who live in Malmsbury st, Kew. At 56 Malmsbury st they all belong. It is their house. There are no young children who are actual residents, but they are to be found there all day long. Mrs J. Tabulo is chatelaine of 56, but few children know her by this name. To them she she is the Fairyland Lady. In her pocket handkerchief front garden there are few flowers; there isn't room, for it has been turned into a children's dream. Cement, tiles, old broken pieces of priceless china, miniature bottles, leadlights, and strange and beautiful little statues have been welded into a grotto which Mrs Tabulo says is only appreciated and understandable to children. It started off in a small way three years ago with a few odd statuettes, but with a street full of children ready and eager to build, it now has hardly room for even a miniature. Like the children, the Fairyland Lady knows and values each mosaic-like piece. Many a wedding present, succumbed at last to the ravages of time, holds a vantage spot in the grotto. The children bring along their broken bits and each is found a spot and cemented into the fairy story picture. In the cottage itself the children are also welcome. There is no spot, from skirting board to ceiling, that is not crowned with some gem or another. Fans, plaques, and china, some of it more than 300 years old, is handled daily by tiny but careful hands. "Children," said Mrs Tabulo, "should be allowed to love and handle beautiful things. They are much more careful than adults. Bless them!" -H.S (The Argus, 22 January 1949)A photograph of Mrs. Grace Tabulo in the garden of ‘Fairyland’ in 57 Malmsbury Street, Kew. fairyland, malmsbury street, kew, tabulo, grace tabulo

Bennie Simcox first came to the Monbulk area about 1860, following the first important gold discovery at the end of 1858. As the gold rush was short lived Simcox returned to Collingwood but later came back to Monbulk, built himself a hut to live in and become its first known permanent resident. The hut was burnt in the 1913 fires. Monbulk was thrown open to selection in 1894, and that's when the first farmers including Bennie Simcox went into Monbulk. It was a big, timbered country in those days. Once Ben had cleared some of his land he started to grow raspberries on it. He would be up before daylight ready to start picking. Ben also picked for a local family, the Camms to help make ends meet. When Ben Simcox was virtually at the retired stage, he wanted to develop his bit of the gully as a tourist attraction, As his nephew Fred Gay who owned the 10 acres below Ben wanted to farm, he was happy to swap his treed block with Ben. At a time when most settlers were clearing their properties, Ben Simcox, by contrast, cultivated the native plants and planted most of the large trees seen on the property today. And so Nathania Springs was developed as a tourist resort, and a mini-botanical garden. He diverted the natural water supply to form ornamental garden pools stocked with trout and tame native black fish. There were many visitors came to the Dandenongs, Some arriving in motor cars others in converted furniture vans lined with seats or charabancs with the long extended chassis and the open canvas roofs. Identities such as Billy Hughes, Madame Melba would often come to look through Nathania Springs. Bennie sold Nathania Springs to Councillor Ferdinand Thomas Le Juge, a boarding house proprietor and later the town baker in 1909 then in about 1921 Ben’s nephew Fred and his wife and family continued to open Nathania Springs to the public. It was not unusual in around 1924-25 for up to a thousand people a day to arrive at Nathania Springs to go through the gardens. At sixpence a time, that was a lot of money in those days. This photo is part of a collection of historic and social significance of the early settlement of Monbulk. Copies of photographs can be purchased from the Monbulk Historical Society.simcox, nathania springs, monbulk, 1860, berries

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this plant as Epacris impressa - Common Heath - white flower form. Common and widespread. NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanPainting of white heath spray, on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, baron von mueller, von mueller, henrietta d'alton, wama, wildlife art, painter, goache, halls gap, wildlife art museum australia

The poster advertises these Swimming Baths as “the most complete in the Southern Hemisphere”. In February 1877 a Baths Company (1050 shares) was formed in the town of Warrnambool for the establishment of the baths at the south end of Gillies Street. The baths were filled with sea water from Lady Bay, originally pumped by a windmill situated near the current Surf Lifesaving Club and carried by iron pipes to the Public Baths; later the water was pumped by a gas motor. Hot and cold fresh water baths were advertised. The gentlemen’s bath was 100 feet long and 50 feet wide, of graduating depth. A second bath, solely for ladies, was 60 feet long by 30 feet wide. Hot Sea water Baths were also part of the institution, and were sought after for their ‘wonderful curative powers’, and ‘incomparable’ as a ‘tonic for the feeble’. In June 1881 the Hot Sea Baths were opened, and both hot and cold water baths were supplied at reasonable charges. Patrons came from near and far to receive the benefits. The manager of the Baths was J. Kirkpatrick. The Baths Company struggled for several years without success, so in 1883 the baths were sold to the Borough Council for 1250 pounds. The original shareholders received nothing for their outlay; the overdraught was over the sale price. In May 1884 the Council announced that an estimated they has spent 1000 pounds in improving the baths since purchasing them and were now returning an income of 11 per cent. Historically significant to Warrnambool and the recreational facilities available in the 1880s to 1900s. The remains of the baths are still visible to the public today.Poster on heavy cream paper, landscape orientation, with coloured print. The poster advertises the Warrnambool Swimming Baths. It has several drawings such as Middle Island and the Merri River Mouth with vessels in the water, The inside of the Baths facility, the men's baths with the adjacent bathing rooms and figures in and out of the water, a cottage with figures in the garden, and fenced buildings with a windmill and aqueduct or pipes. The text describes the location and advantages, the opening times and various costs. It was printed in Ballarat by F.W. Niven & Co. Lithos."TOWN OF WARRNAMBOOL" "SWIMMING BATHS" "HOT SALT-WATER BATHS FOR LADIES AND GENTLEMEN" "HOURS FOR BATHING fROM 7 a.m. to 9 p. m. Closed on Sundays at 10 a.m." Single Bath 1s [1 shilling]; or 10s per Dozen Tickets" "HOURS FOR SWIMMING BATHS: Ladies and Gentlemen, from 6 a.m. to Sunset, Sundays 6 a.m. to 10 a.m." "Every information can be obtained from the Manager, J. Kirkpatrick" "HOT SEA-WATER BATHS ... strongly recommended by the Medical Faculty" "Hot and Cold Fresh Water Baths" "Showers etc." "LIST OF CHARGES ... Single Season Ticket, Single Monthly Ticket, Single Bath without towel ... with towel.. Tickets per dozen without towel, with towel..." "The Baths are situated at the end of Gillies Street, in the rear of the Post Office, and are of salt water pumped by gas motor continuously from the sea. The Swimming Bath is 100 feet long by 50 feet wide, of graduating depth; and a second bath for ladies' use solely, 60 feet long by 30 feet wide. The hot Sea-water Baths in connection with this institution have been extolled far and wide for their wonderfully curative powers in cases of rheumatism, sciatica, and nervous afflictions generally. As a tonic to an enfeebled system, they are incomparable, These Baths, the most complete in the Southern Hemisphere, have been recently re-erected and fitted with marble plunges, and everything provided for the comfort and convenience of invalids and visitors." "F.W. NIVEN & Co, LITHOS, BALLARAT"flagstaff hill, warrnambool, warrnambool swimming baths, hot sea water baths warrnambool, warrnambool baths company, f.w. niven & co, warrnambool therapudic baths, town of warrnambool, swimming baths, hot sea water baths, salt water baths, ladies' baths, gentlemen's baths, warrnambool town baths, j kirkpatrick

The White Winged Triller is a small member of the Campephagidae family. They can be found all over the Australian mainland, but there have also been sightings in Tasmania, Papua New Guinea and Indonesia. Their breeding season is from September to December, when they migrate to southern Australia for the warmer months. The males can be very noisy during this time, when they 'trill' all day, granting them their name. Throughout the winter they can be found in northern Australia. This species can be found in open areas with shrub and lots of ground cover, in woodlands, forests, scrub and waterways. The males and females are noticeably different, particularly when breeding. Breeding males are the most conspicuous, with black on their heads, bodies and wing coverts, with a white body, lower face and lower wings. Females are brown, with a light body, a faint brow and a dark line through their eyes. When not in the breeding season, males are similar to females, though they have a greyer rump. These birds have a netted pattern on their wings. When in flight they undulate, and when they land they often shuffle and re-fold their wings. This species predominantly forage for insects on the ground or tree foliage, but also 'hawks' insects from higher perches. They build nests on horizontal branches or forks, and can be found sometimes using empty nests of other birds. Many of these birds can be found nesting in the same tree as a colony, and both parents incubate and brood their two to three nestlings. This specimen is a male White Winger Triller, which is apparent from his black and white colouring. While missing some plumage, the distinction between black wings, tail, cap and wing covert are still clear against his white body and under-wings. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male White Winged Triller has a black cap on its head. It has black wings with black wing coverts, and a black tail. It has a white lower face and body, a white shoulder bar and white under-wings. This specimen stands upon a wooden post, attached to a wooden post and has an identification tag tied around its leg. Swing-tag: 22a / White shouldered Campephagidae/ See catalogue, page 11. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, triller, white winged triller, campephagidae, australian birds

The Common Buzzard is part of the buteo genus (Latin for buzzard or hawk) which indicates it is part of the raptor group whose features include a medium to large build, a strong body and larger wings. The family includes birds of prey such as hawks and buzzards. Like their name suggests, Common Buzzards are very ‘common’ in the UK but can also be found in other parts of Europe, Africa and Asia. The birds’ habitat consists of woodland, shrubland, forest, wetlands and countryside, and they can live in cold, tropical and temperate climate zones. Similar to other raptor species, Common Buzzards make their nests in tree branches or tree forks. With finely tuned hearing, they are able to detect small marsupials, and their diet consists of small amphibians, birds and mammals. Normally solitary, these raptors can occasionally be seen with others. Common Buzzards are classified as of ‘Least Concern’ on the IUCN Red List. While there is some noticeable fading of this particular taxidermy specimen’s plumage, it is relatively well presented. The completely black eyes and string through the nose of the specimen seem to be taxidermy/curatorial choices, as this is not something that is normally found on living versions today, and the eyes of Common Buzzards are normally golden eyes with black pupils. It is interesting to note, when considering the selected artificial eyes, that the original swing tag labeled this specimen as Saleo tinnunculus Lina, a form of kestrel (known to have complete black eyes), which perhaps explains this taxidermist choice. As a Common Buzzard, this particular specimen could have had its frame and breast area bulked out a little more, as birds within the buteo genus are generally recognised to be of medium to large build. Overall however, this is a fairly reasonable and accurate representation of the species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.With similar colourings and features to a range of raptor species, the Common Buzzard can often be mistaken for other varieties of buteo and raptor. The bird’s plumage generally varies by location, but normally includes a variety of shades of brown, commonly with darker brown on its back and lighter coloured feathers on its breast, underbelly areas and face. These birds normally have fine bands on their tail and darker tipped wings. Common Buzzards have smaller heads with a band of yellow around the base of their small curved beaks and golden yellow eyes. This particular specimen’s feathers have faded and he stands upon a wooden perch with an identifying tag hanging from its right leg.Swing Tag: Swing tag obverse seems to read: ‘…io [? First few symbols aren’t clear]/ Saleo /tinnunculus/ Lina [there is also another illegible symbol on the tag in the centre on the second line] Swing tag reverse: illegible sections of text and the beginning of a number ‘403…[?]. Metal tag: 1032[?]taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, buteo, hawks, raptors, birds of prey, buzzards

The name bandicoot is taken from the term ‘pandi-kokku’ which means ‘pig-rat’ in Teluga, an Indian language. The bandicoot is endemic to Australia, and is a nocturnal marsupial. When first discovered, the bandicoot was originally mistaken for a type of rodent. This confusion can still occur among people today who don’t know the difference. However, the bandicoot actually descends from the marsupial lineage. Its most distinguishing features are the pointed snout, big ears, long hairless tail, round black eyes, and plump body. The hair colour is brown or tan, sometimes mixed with black or white markings. The hind limbs tend to be longer than the front limbs, and two of the toes are fused together, similar to the kangaroo. They play an important ecological role – turning over soil, which increases the rate of leaf litter decomposition, soil production and nutrient cycling. They're also critical in dispersing fungi spores, so losing bandicoots (and bettongs) from ecosystems has cascading effects on plant diversity, species composition and structure of forests and woodlands. Due to its immense diversity, the bandicoot has a large range of different body sizes. It typically varies between 12 and 31 inches in length, while the tail adds another four to 12 inches. This makes it on average about the size of a house cat. Males may be up to twice as large as females, but otherwise the sexes are similar in appearance. The main difference exhibited by the female is the rear-facing pouch with six to 10 teats to protect and feed the young. The bandicoot is one of the few marsupials to have a developed placenta. However, this placenta is small and lacks certain features, thus separating it from most other placental mammals. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Small sized bandicoot with a pointy snout, small rounded eyes made of glass, a thin tail, small rounded ears, and sharp clawed legs. The fur in colouring is golden brown with streaks of dark brown, and is of medium length and fine.On wooden mount: BMM5896/ On Catalogue Tag (attached to left foreleg): Bandicoot Mou(...)/ Catalogue, Page. 45/ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, bandicoot, marsupial, peramelemorphia

The subject of this photograph is the S.S.Rowilla, a passenger steam ferry built in Hobart for use in Tasmania's rivers, the Derwent and the Tamar. The photograph shows her docked at the Charles Street Wharf in Launceston. The S.S. Rowitta was built by Purdon & Featherstone, at Battery Point, Hobart (Tasmania) in 1909 from Huon Pine and Kauri planking. Her final configuration included three masts and a ship rig. S.S. Rowitta took its first voyage from Hobart to Launceston in 1909 and operated for 30 years as a passenger ferry on the Tamar and Derwent Rivers. She also served as a freighter, an army supply ship, a luxury charter ferry and a floating restaurant as well as a prawn boat at Lakes Entrance. (She has also been named “Sorrento” and “Tarkarri”.). In the very early days of Flagstaff Hill ‘Rowitta’ was purchased from Lakes Entrance by Warrnambool City Council and the Victorian State Government for $20,000. The Rowitta had a hull configuration very similar to a local boat named the SPECULANT, which played a key role in the Port of Warrnambool in the early 1900s. The Speculant was the largest ship ever registered with Warrnambool as her home port. Local owner and trader P J McGennan & Co, (Peter McGennan) used her as a freight carrier to Melbourne and timber trader between New Zealand and Victoria. She sunk at Cape Otway in 1911 on a voyage to Melbourne. In 1974 Rowitta was delivered to Port Fairy and then later sailed to Warrnambool’s Breakwater where she was lifted out of Lady Bay and loaded onto the back of a long transport truck and slowly and carefully driven along Pertobe Road, through the Surfside Caravan Park and over the railway line, into Flagstaff Hill’s Maritime Village. Transfer arrangements were coordinated by Jack Morse, of Morse Engineering, a member of the Flagstaff Hill Planning Board, and Ken Goyen, a local crane operator. The ‘Rowitta’ was originally acquired to be rebuilt to match the original SPECULANT. When finances became tight in 1976 a review of all plans ended in the decision to restore the “Rowitta” to her original configuration. She was then restored, renamed the original name of “Rowitta” and installed in the Village’s Harbour Lake to become one of the popular vessels on display for visitors to enjoy. It was the decision of the Advisory Committee to Flagstaff Hill to have Rowitta demolished in April 2015 due to extensive deterioration. Items associated with the Rowitta continue to be held in Flagstaff Hill Maritime Village’s Collection.The photograph of the passenger ferry S.S. Rowitta.is significant for its association with Tasmanian history from the early to mid-1900s. It is also connected to the history of the 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 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. 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. Black and white photograph of the steamship S.S. Rowitta at Charles Street Wharf, Launceston. It shows the vessel docked at the Charles Street Wharf in Launceston. Smoke is coming from its funnel and there are people on board. There is a handwritten inscription on the top edge of the photograph. The vessel was built in 1909 by Purdon & Featherstone, Hobart. Blue-green handwriting on top left margin "ROWITTA AT LAUNCESTON"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, s.s. rowitta, charles street wharf,, launceston., purdon & featherstone, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, sorrento