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Federation University Art Collection
Painting - Watercolour, Mitchell, John, [Scottish Scene] by John Mitchell
John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a Scottish Scene by John Mitchellart, artwork, john mitchell, mitchell, scotland, scottish, art, artwork, john mitchell, mitchell, scotland, scottish -
Kew Historical Society Inc
Photograph, J F C Farquhar, High Street, Kew, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In 1891, High Street was the centre of commercial activity in the Borough of Kew. It was unpaved and edged with deep bluestone gutters, which were designed to channel the significant flow of storm water down the hill to and beyond the Junction. On either side of the entrance to the shopping strip are two cast iron gas lamps that provided the only public street lighting before the Post Office was reached. Most shops, including the Nicholas Brothers’ Junction Store featured cast iron verandas. Further up the hill, Dougherty’s Greyhound Hotel was by this stage a local institution. Apart from the horse-drawn tram, the main form of personal and commercial transport in this period remained the horse, horse and cart, or buggy.The panoramic view predates the widening of High Street in the 20th century, and thus includes the original alignment of buildings on the south side. These included Henry Kellett’s shop.High Street, Kewkew illustrated, kew where we live, photographic books, henry kellett, high street - kew (vic) -
Tatura Irrigation & Wartime Camps Museum
Small booklet, Photographs - 38 colour photos taken by Niela Laws
... . Included in the visit was the Hay Intenment camp and local scenes ...Scenes of visit to Hay NSW by Tatura Historical society members. Local photos include Heritage centre, Hay Railway station, Royal Mail hotel,and Hay Goal museum. There is also a "Dunera" Internees plaque, erected for the 50th Anniversary by the Hay Shire Council.- to mark the arrival from England of 1.984 refugees on the "Dunera" Many joined the AMF on their release from internment and made Australia their homeland.There is also a plaque to commemorate the existence of a POW camp at Hay. The plaque is on a fountain at the Hay racecourseTatura and District Historical society trip to Peppin Heritage centre May 1st 1993. Included in the visit was the Hay Intenment camp and local scenes.dunera, -
Tatura Irrigation & Wartime Camps Museum
Booklet - Book, History of the Waranga Basin, 1977
As part of rich history of Rushworth after gold was discovered. Gunn's swamp became Waranga Basin when a 24 miles channel was constructed from the Goulburn Weir to the inlet.Blue cover, black writing, yachting scene on front cover. Waranga basin inlet and outlet pictures on the backJoyce Hammond 19/8/77irrigation, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Wooden Wonders, 2006
To preserve the history of Victoria's wooden bridges. Local bridges were in danger of disappearing. To appreciate the wonder of native timber, a marvellous construction material that can save the planetPicture of 3 tier wooden bridge on front cover. Sepia postcard scenes of rail bridges on back.wooden wonders, timber bridges, chambers d, national trust, wooden bridges of victoria, history of wooden bridges in victoria -
Tatura Irrigation & Wartime Camps Museum
Book, Goulburn Murray Water, 2001
Annual report 2000-2001 includes chairs report - CEI report - Customer service, water and environmental management financial statementsDark blue back cover. Marbled blue front cover. Water scenes and fruit scenes. Water Logoirrigation, books, history, local, rural, industry -
Tatura Irrigation & Wartime Camps Museum
Book, Mooroopna to 1988, 1989
... of rural scene, sports and local fruit in oval frame on front.... Dainton. Cream dust jacket, sketches of rural scene, sports ...History of Mooroopna, foreword by Sir Ian McLennan. Includes stories on local families, businesses and industries. 2 Newspaper articles on Sir I. MclennanGreen hard back cover. Gold imprint of war memorial on front. Cover design - Ross Dainton. Cream dust jacket, sketches of rural scene, sports and local fruit in oval frame on front.mooroopna to 1989, ford t, mooroopna hist soc inc, ardmona cannery, tatura, mooroopna, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Programme, Pirate's Daughter, 1934
Produced in connection with the comedy by local artists. Profits in aid of Boy Scouts. Entertainment held in Victory Hall, TaturaBeige coloured folder, recording cast numbers and scenes from theatrical production.theatre, entertainment, documents, programme -
Tatura Irrigation & Wartime Camps Museum
Book, Fruits of Our Labour, 2003
Funded by Department of Employment giving local versions of work in the fruit industry. Historical record. Connected: Work for the Dole Project. Supervised by Soc HedditchWhite dust cover. Illustration of orchard scene in black and white. 90 pages.fruits of our labour, key solutions, department of employment, work for dole project, soc hedditch, fruit industry -
Tatura Irrigation & Wartime Camps Museum
Book, History of Irrigation in Australia
Produced to cover hisstory of development of irrigation in AustraliaConstruction scene on front cover in black and white. Main Colour marooh. White printing on dark background and black printing giving details.books, history, local -
Tatura Irrigation & Wartime Camps Museum
Booklet, Supply of Water for Irrigation, 1988
Early irrigation schemes (records) with illustrations written to cover years 1881-1981Cream covered. Construction scene in blackbooks, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, The Italian Farming Soldiers, 1981
Written to show role of Italian POW's as labour on farms from 1941-1947Red hard cover. Map of Australiain green, white and red. italian POW's and camp scene and Italian farmers.italian pow's, books, history, local, reference -
Tatura Irrigation & Wartime Camps Museum
Booklet, Farm Chanels for Border Check Irrigation, 1991
Explaining farm channel system. Includes information on Dethridge MeterCream cover, black writing, blue logo of Rural Water Commission of Victoria on front and channel sceneirrigation, books, history, local, rural, industry -
Tatura Irrigation & Wartime Camps Museum
Book, Achievement Report, 2000/2001
Information from NRE Irrigation Region in Mildura and Irymple, Swan Hill, Kerang, Pytramid Hill, Echuca, Kyabram Dairy Centre, Tatura and CobramBlue cover, 4 small panels depicting scenes of water-farming-fruitgrowingirrigaton, books, history, local, rural -
Tatura Irrigation & Wartime Camps Museum
Book, Times Have Changed. Nathalia & Barmah, 1991
Stories and poems written by local people and compiled into a book by students and staff of Nathalia Secondary CollegeWhite soft covered book, red printing and black and white river scene on front cover. Includes photographs and sketches. 83 pages.nathalia and barmah, nathalia secondary college -
Stawell Historical Society Inc
Realia - Calender, Brambuk Visitor Centre, A Year in Grampians - Gariwerd
Perpetual Calender. With eight proposed seasons according to Indigenous AustraliansOn a backgrous of Blurred of white and red Flowers "A Year in the Grampians Gariwerd". A Photo of the Grampians across farmland "This Calender combines Australian and European traditions" "Indigenous Australians observe changing weather and environmental patterns and resulting cycles of local seasons. On Each page of this calendar the large scene photos were taken in that month, over a period of twenty years. ( It must be remembered that flowers vary with the elevation, the soil, the aspect and the weather from year to year. You will not always find the same flowers in the same month as portrayed here.) In Europe, a calendar in the home is a long tradition: be it the familiar annual version or the Perpetual one to record important recurring dates such as family birthdays. It is our hope that however you choose to use our calendar, you will take peasure in the colour and beaty of the year in the Grampians Gariwerd." "All photographs by kees and Margo Sietsma. All Profits from the sale of this Calendar go to the Community Association of Halls Gap for the upkeep of our Botanical Gardens of Grampians flora. Dedicated to the memory of Kees Sietsma. with thanks to God, creator and Sustainer. -
Tatura Irrigation & Wartime Camps Museum
Booklet - Book, History of the Waranga Basin, 1977
As part of rich history of Rushworth after gold was discovered. Gunn's swamp became Waranga Basin when a 24 miles channel was constructed from the Goulburn Weir to the inlet.Blue cover, black writing, yachting scene on front cover. Waranga basin inlet and outlet pictures on the backJoyce Hammond 19/8/77irrigation, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Booklet - Book, History of the Waranga Basin, 1977
As part of rich history of Rushworth after gold was discovered. Gunn's swamp became Waranga Basin when a 24 miles channel was constructed from the Goulburn Weir to the inlet.Blue cover, black writing, yachting scene on front cover. Waranga basin inlet and outlet pictures on the backJoyce Hammond 19/8/77irrigation, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Rodney Recollections 1886 - 1986, 1986
To commemorate 100th anniversary of Rodney Shire. Includes photographs of Councillors and staff of Rodney ShirePlasticised soft cover. Rodney Shire logo. River scene on back. Black letters. Afirmation from Local Governmentlocal history, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Rodney Recollections 1886-1986, 1986
Written to commemmorate the 100th Anniversary of the Proclamation of the Shire of RodneyGrey/brown and beige water like scene soft cover book. Maroon and black text and border. Green willow trees at the edge of water scene on the back cover.shire of rodney, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Binder, Locals & Former Residents Personal Recollections
Various stories written by local and former Tatura residents. Includes trip by school children to 1956 Olympic Games, Township of Tatura 1879, Matt Patterson's life story, Dhurringile Mansion history by J Lowry, W Doller and R NewnhamPlastic cover, black and white cartoon like characters and grave yard scene on front. Contains plastic sleeves each with printed material.tatura and district, documents, history, tatura residents, 1956 olympic games, tatura 1879, matt patterson, dhurringile mansion history, j. lowry, w. doller, r newnham -
Tatura Irrigation & Wartime Camps Museum
Photographs of Tatura - two photos and one concertina pictorial folder
Photo of Patricia and Gwen Clawes, daughters of Charles George Gordon who was a journalist at the local paper, circa 1925. On the back of the small photo folder showing pictures of street scenes in Tatura, is written "From the Anderson family".tatura, tatura paper -
Tatura Irrigation & Wartime Camps Museum
Book, Centenary Committee Mooroopna NW Primary School et al, Mooroopna North West (Ram Dam), 1978
Published in association with Centenary Celebrations of Mooroopna North West Primary School 1978Brown cardboard cover. Oval photo - water scene. Illustrated. 36 pages, Mooroopna North West (Ram Dam) No 2002 1878 1978 on scroll.To Tatura Historical Society with my compliments. M J. Delaney, Tatura Irrigation and Local History Museummooroopna north west primary school, school centenary celebrations -
Port Fairy Historical Society Museum and Archives
Painting - painting, Watercolour, Elsbee?, The Barque Sydney Griffiths, c.1850
This painting of the barque Sydney Griffiths and two smaller ships, ‘the brothers’ and Essington’ graced the offices of Powling solicitors for 3 generations. This painting illustrates the scene of the first export of wool from Belfast to England.Depicts a significant moment in time when the first shipment of wool from the port was being loaded for London.A watercolour painting on paper and linen in a gold and Black frame showing the Barque "Sydney Griffiths" sailing before Griffith island, also shown "Essington" and "The Brothers" John Griffiths House and other buildings on shoreThe Barque "Sydney Griffiths" Capt. Cowtan leaving Port Fairy for London, February 8th 1851. "Essington" "Brothers"local history, illustrations, powlings, watercolours, exports, essington, sydney griffiths, shipping, the brothers, wool export, capt cowtan -
Port Fairy Historical Society Museum and Archives
Medal
Medal presented to J Goldie from local farm family at Port Fairy Agricultural Show, formerly named Villiers and Heytesbury Agricultural ShowRepresents medal awarded to entrants in Agricultural Shows c.1900Horse, cow, sheep, goat, pig, rooster in a rural sceneVilliers and Heytesbury Agricultural Association Awarded to J Goldie Jun. for Single Pony - not more than 14 hands 1900j goldie, agricultural, villiers and heytesbury, show -
Clunes Museum
Photograph
SNOW SCENE IN CLUNES CIRCA 1988local history, photography, photographs, snow -
National Wool Museum
Clothing - 1984 Los Angeles Olympics Men's Opening Ceremony Shirt, c. 1984
On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes -
National Wool Museum
Tool - Spinning Wheel, c.1980
This spinning wheel originates from New Zealand; however, it has no distinguishing features relating to its creator such as an inscription, so its exact maker is not known. Gill Stange remembers buying the wheel on Bridge Road in Richmond, approximately 30 years ago. Gill had joined her local Spinners and Weavers Guild after the Ash Wednesday bushfires of 1983. She was a then resident of Mount Macedon and lost everything in the fires. Moving to Melbourne to get away from the scene of much pain, Gill was also in need of a new hobby to help occupy her mind. That is when spinning and weaving entered her life. The local Spinners and Weavers Guild was a great support network for her and with their recommendation, she purchased her own spinning wheel. Her passion was started, and the wheel was to become a treasured item in Gill’s home. She had several spinning wheels within her possession over the years, however, this wheel was her first and always her favourite. When the time came for Gill to downsize, there was simply no longer room for her spinning wheel. This is when she decided to donate the wheel to the National Wool Museum. Gill remembers one highlight was weaving a tablecloth from a traditional German design. It took her two years to complete, with Gill spinning all the wool herself on this wheel. The tablecloth won the first prize in the Melbourne Show in 1987. Gill also used the wheel to teach programs to school children on how to spin and knit wool. She would take the easily transported little wheel, and its accompanying seat, with her to schools. Its small size enabled her to teach children to knit and spin, bringing others the joy that spinning had brought her. Not just limited to schools, Gill also taught programs with the wheel here at the National Wool Museum. It is a fitting home for the wheel, which Gill donated to the National Wool Museum in 2021.Dark varnished wood in a Castle style spinning wheel. The wheel has 8 small spokes which meet a thick outside rim. The outside rim has four golden disc weights on the bottom edge, to aid in the turning of the wheel. The spinning wheel has four legs of turned wood giving a sculptural form, a design pattern which is continued throughout. The wheel has a single medium sized foot pedal. This pedal is well worn with varnish missing from years of use. The wheel is completed with its accompanying chair. Made of the same dark varnished wood, its legs are also of turned wood, continuing the design pattern and uniting the two objects. The chair is very simple outside of the legs, with a medium size base and a thin backrest ending in a rounded head. The chair’s varnish is also starting to fade from years of use. The chair is small, designed to keep the spinning wheel operator at the appropriate height when spinning on the equally small and compact Castle style spinning wheel. Additional parts were donated with the Spinning Wheel. - 3 x Lazy Kates - Spare Maiden. - 450mm Niddy Noddy - Steel teeth brushspinning wool, spinning wheel, ash wednesday, mount macedon, textile production -
St Kilda Historical Society
Photograph, George Hotel demitasse coffee cup - images collection, 1995
The George Hotel in St Kilda was one of the largest and most well known hotels in Victoria and the largest in Melbourne outside the city. By the late 1970s and early 1980s, renamed the Seaview in 1976, it no longer operated as a hotel and fostered Melbourne's alternative and punk music scenes. It was de-licenced and closed in 1987 and redeveloped in the mid 1990s as apartments, with bars, cafes and shops at ground level and an art gallery and cinema. On 6 January 1996, Harry Hogg, a local photographer and a member of the Save St Kilda movement, sent the photographs of the demitasse coffee cup to the new owner of The George, Donlevy Fitzpatrick. His covering letter said: 'The reason for this note is to send you copies of photographs of a fragment of a demitasse coffee cup I unearthed recently from along the light rail in Albert Park. I regret the poor quality of the prints (I was funning a test on a 1000 ASA film in low flat light) but hope the contents of the photographs may be of interest to you.'Colour photographSide of cup: George Hotel St Kilda; image of warrior on horse Base of cup: Dunn Bennet's (Gold Medal) Hotel Ware. Burslem, England. Made for: J. Leigh Jones & C Sydney.st kilda, dunn bennett, george hotel, fitzroy street, donlevy fitzpatrick -
Uniting Church Archives - Synod of Victoria
Newspaper cutting, 1866
Rev. Daniel James Draper (1810 - 1866). Born Wickham, Hampshire 28 August 1810. In 1830 joined the Methodist Society at Fareham and became a local preacher. Nominated in March 1834 as a candidate for the Wesleyan Methodist ministry. Appointed preacher on probation to the Charteris circuit. Married Sarah Webb in September 1835, ordained 7 October 1835, sailed for Australia on 13 October 1835. Served at Parramatta, where his wife died on 16 February 1838. Married Elizabeth Shelley (1808 - 1866) daughter of William Shelley, formerly a missionary in Tonga and Tahiti in July 1939. Served in N.S.W., Victoria and South Australia. Elected President of the 1859 Conference. Granted leave in 1865 to return to England as the Australian representative to the British Conference. He was returning to Australia on the SS London in January 1866 when he and his wife, along with 244 others, perished when their ship sank during a fierce storm in the Bay of Biscay.B & W etching: two head and shoulder portraits of Rev. Daniel Draper and Mrs Elizabeth Draper superimposed on a scene depicting the shipwreck of the S.S. London, with cross and crown above.daniel james draper, sarah webb, elizabeth shelley, ss london, bay of biscay, methodist, wesleyan, minister, president of conference, shipwreck