WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Victorian Butterflies Authors: Ernest Anderson & Frank Palmer Spry Publisher: H Hearne & Co Date: 1893Label on spine cover with typed text R.A. 595.73 AND Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarybook, warrnambool mechanics’ institute, victorian butterflies, ernest anderson, frank palmer spry, shipwrecked-coast, flagstaff-hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, warrnambool library, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. A History of The Highlands and of The Highland Clans Vol 2 with an extensive selection from the hitherto ineditd Stuart Papers Author: James Browne Publisher: A Fullerton & Co Label on spine cover with typed text RH 941 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, a history of the highlands and of the highland clans vol 2, a history of the highlands and of the highland clans, james browne

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. A History of The Highlands and of the Highland Clans Vol 3 with an extensive selection from the hitherto ineditd Stuart Papers Author: James Browne Publisher: A Fullerton & Co Label on spine cover with typed text RH 941 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, a history of the highlands and of the highland clans vol 3, a history of the highlands and of the highland clans, james browne

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. A History of The Highlands and of the Highland Clans Vol 4 with an extensive selection from the hitherto ineditd Stuart Papers Author: James Browne Publisher: A Fullerton & Co Label on spine cover with typed text RH 941 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, james browne, a history of the highlands and of the highland clans vol 4, a history of the highlands and of the highland clans

WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Works of Frederick Schiller History of the revolt of the Netherlands Author: Frederick Schiller Publisher: Henry G Bohn Date: 1847Label on spine cover with typed text RH 830 SCH Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, the works of frederick schiller, revolt of the netherlands, frederick schiller

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Journal of Landsboroughs Expedition From Carpentaria in search of Burke and Wills (maps missing) Publisher: Wilson & Mackinnon Date: 1862Label on spine cover with typed text RA 919.4 LAN Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, journal of landsboroughs expedition, carpentaria, wilson & mackinnon

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Handbook of Fungus Diseases of the Potato in Australia and their Treament Department of Agriculture, Victoria Author: D McAlpine Publisher: Government Printer Melbourne Date: 1911Label on spine cover with typed text R.A. 633 .491 MAC Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Fly paper has a stamp from Warrnambool Public Museumwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, handbook of fungus diseases, handbook of fungus diseases of the potato in australia and their treament, d mcalpine

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Poetical Sketch-Book, Australia Author: Thomas K Hervey Publisher: Edward Bull Date: 1829Label on spine cover with typed text R.A. 821 HER Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Fly paper has stamp from Warrnambool Public Museumwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, the poetical sketch-book, australia, the poetical sketch-book, thomas k hervey

The objects comprise a quantity of small calibre lead shot raised from the LOCH ARD shipwreck site by Flagstaff Hill divers in 1976. The Maritime Village’s collection has companion pieces. The three masted, iron hulled, LOCH ARD was wrecked against the tall limestone cliffs of Mutton Bird Island in the early hours of the first of June 1878. Included in her diverse and valuable cargo were 22 tons of lead shot, packed in cloth bags and wooden casks. Bulk quantities of lead shot, uniformly round balls of dull grey metal ranging from 2mm “birdshot” to 8mm “buckshot”, were routinely exported to the Australian colonies. Shot was used mostly as projectiles fired from smooth bored guns to bring down moving targets such as wild ducks and small game. It was also useful as ballast, when a dense, “pourable” weight was required to fill cavities or establish volume within a measuring container. The production of consistently round spheres of lead shot required the pouring of molten metal through a sieve and then a long drop through the atmosphere to a water filled basin for final cooling and collection. This “shot tower” process was first patented by William Watts of Bristol in 1782. His calculation of a 150 feet fall was not only to form evenly spherical droplets through surface tension, but also to provide partial cooling and solidification to each shot before they hit the water below. The value of his innovation was the minimising of indentation and shape distortion, avoiding the expense of re-smelting and re-moulding the lead. Lead shot was already being produced in Australia at the time the LOCH ARD loaded her cargo and left Gravesend on the second of March 1878. James Moir constructed a 157 feet circular stone shot tower near Hobart in 1870, with a peak annual production of 100 tons of lead shot sold in 28 pound linen bags. However colonial demand exceeded this source of local supply. The continued strength of the market for lead shot in the Colony of Victoria prompted substantial investment in additional productive capacity in Melbourne in the next decade. In 1882 Richard Hodgson erected the 160 feet round chimney-shaped Clifton Hill shot tower on Alexandra Parade (VHR H0709) and in 1889 Walter Coop built the 160 feet square tower-shaped Melbourne Central shot tower on La Trobe Street (VHR H0067). At its peak, the Coop Tower produced 6 tons of lead shot per week, or 312 tons per annum. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance – Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A quantity of lead shot pellets retrieved from the wreck of the LOCH ARD. There are 242 loose 2mm pieces and 17 loose 4mm pieces. They are in good condition, with some shape distortion and sedimentary concretion, and shot tower made.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, lead shot, colonial industry, melbourne shot towers, victorian metallurgy, colonial imports

April Meeting (Newsletter No. 233, Apr. 2017) Our meeting at 8.00pm on Wednesday 12th April 2017 is our Annual General Meeting, which includes the presentation of annual reports and the election of office bearers for the coming year. The official notification of the Annual General Meeting and Agenda are on page 8 in this Newsletter. At this meeting we are pleased to have as our guest speaker Dr. Andrew Lemon, a great friend of EDHS and a Fellow and the immediate Past President of the Royal Historical Society of Victoria. Andrew is an independent Melbourne historian, author of numerous books on local history, shipwrecks, biography, schools and sport and winner of national literary awards. He has been awarded the degree of Doctor of Letters by the University of Melbourne for his published works. Andrew edited the Victorian Historical Journal throughout the 1990s and served on the Library Board of Victoria and the Heritage Council. Andrew is a very entertaining presenter and in our 50th Anniversary year he has chosen to speak about ‘Fifty years of the EDHS - and why it matters.’1:03:34 duration Digital MP3 File 75 MB andrew lemon, audio recording, eltham district historical society, meeting, society meeting

The photograph shows the popular tourist attraction, Loch Ard Gorge, which is located along the Great Ocean Road in Victoria, near Port Campbell. The gorge is named after the famous sailing ship, the LOCH ARD, that was wrecked there in 1878. Only two of the 54 passengers and crew survived. FOYLE “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph, the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St, Warrnambool, which operated between 1889 – 1919. A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August 1907, mentions that in that year Warrnambool would celebrate the 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded the contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built-in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke and opened the case of brandy, which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged, and some of it was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. Foyle's photographs date from the late 19th century to the early 20th century, representing a time of growth in the Warrnambool district and a time when the still relatively new technology of photography was more available to the community.Photograph of Loch Ard Gorge. This sepia coloured rectangular photograph is mounted on a brown cardboard backing that has a wood grain pattern. The photograph has an inscription above it, below it, and in the bottom left corner. It was made for the purpose of a presentation by the Port Campbell Progress Association. Printed above the photograph "PRESENTED BY THE PORT CAMPBELL / PROGRESS ASSOCIATION". Printed below the photograph "LOCH ARD GORGE / PORT CAMPBELL". Hand written on bottom left corner "Foyle". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photograph, port campbell, port campbell progress association, foyle photograph, foyle photographic studio warrnambool, warrnambool photo studio

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray

This earthenware dinner plate fragment is very similar to others recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th century Victorian era. It is still being produced today. The design was produced as high quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830’s, but no-one is sure exactly who the original designer was. The industrial age made production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for the export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic marked would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to the simpler, cheaper oblong shapes. The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. [References: Flagstaff Hill Maritime Village information sheets and documents, http://www.asiaticpheasants.co.uk/index.html ]Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Fragment of earthenware dinner plate recovered from the wreck of the Loch Ard. White glazed porcelain with blue Asiatic Pheasant design; this piece shows a pheasant. Sticker underneath has blue pen handwriting "L/58". Asiatic Pheasant Cartouche has Maker’s name (hard to decipher). Stamped underneath "0 1 2 8 1 (or 9)" Sticker underneath has blue pen handwriting "L/58". Asiatic Pheasant Cartouche has Maker’s name (hard to decipher). Stamped underneath "0 1 2 8 1 (or 9)" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, dinner plate, asiatic pheasant, loch ard, plate

Commercial artist, Keith Edwin Rash (1910-1985), studied at the Ballarat Technical Art School between 1923 and 1929. These artefacts are from his professional practice. Sign writing and ticket-writing bridged art and trade, with hand lettering applied to long-term signage and short-term promotional materials. At the Ballarat Technical Art School, sign writing, ticket writing, and house decoration were overseen by Thomas Raisbeck (1884-1970) from 1915. Classes were then successively taught by former students William Kenneth (Ken) Moss (1889-1921) from 1920 until his untimely death, Albert E. Williams (1899-1986) until 1928, followed by experienced, practising sign writer, Charles Emrys (Angus) Henderson (1899-1976), who had trained under Raisbeck. A number of brushes and sponges used by Ballarat sign writer, Keith Rash, who studied sign writing at the Ballarat School of Mines. signwriting, keith rash, ballarat school of mines, brushes, ballarat technical art school, sign writing, ticket writing

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vida May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vida and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district. Vida May Wing was born in Richmond in 1882. A noted teacher of plain, fancy and step dancing, during the first two decades of the twentieth century she held annual fancy dancing and floral balls, where her pupils were the performers. In 1916, she married Hubert Charles McDonald. She died in 1959.Round box of Guerlaine [established 1828] face powder. The name of the manufacturer is embossed on the base. The navy blue and gold cardboard container is filled with the original powder by Guerlain Shalimar, 'Ocre Doree'. It belonged to to Vida May McDonald.Reverse: "Guerlaine"guerlaine, vida may wing, cosmetics, face powder

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vida May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vida and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district. Vida May Wing was born in Richmond in 1882. A noted teacher of plain, fancy and step dancing, during the first two decades of the twentieth century she held annual fancy dancing and floral balls, where her pupils were the performers. In 1916, she married Hubert Charles McDonald. She died in 1959.Rose Study on board, by Vida May McDonald (nee Wing). Pink and red roses on wooden panel.Reverse: "Vida Wing / 1908-19?"still lifes, vida may wing, roses

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vida May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vida and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district. Vida May Wing was born in Richmond in 1882. A noted teacher of plain, fancy and step dancing, during the first two decades of the twentieth century she held annual fancy dancing and floral balls, where her pupils were the performers. In 1916, she married Hubert Charles McDonald. She died in 1959.Upright, embossed celluloid, silk iined vanity dresser box which belonged to Vida May McDonald (nee Wing). The sides of the box are covered with purple figured velvet while the lids are covered with embossed celluloid. The case has a number of panels which open to reveal its pink silk lined interior which was once fitted out with mirrors, combs, brushes, and makeup jars. Nilvida may wing, vida may mcdonald, beauty cases, makeup boxes

The cuneiform envelope and accompanying letter were acquired by Aquila Dodgson in 1890. He acquired the items from the collection of a Mr Cutter with the assistance of Theodore Pinches, Keeper of Oriental Antiquities at the British Museum, who went to view Mr Cutter's material at Aquila's request. The envelope was addressed by Nadin-ahi to his brothers Bil-bullit-su and Marduk-balat-su-ikbi and the letter inside concerned land contracts. This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Clay envelope with cuneiform inscription.cuneiform, envelope, james dodgson, aquila dodgson, flinders petrie, theodore pinches, mr cutter

The cuneiform letter and accompanying envelope were acquired by Aquila Dodgson in 1890. He acquired the items from the collection of a Mr Cutter with the assistance of Theodore Pinches, Keeper of Oriental Antiquities at the British Museum, who went to view Mr Cutter's material at Aquila's request. The envelope was addressed by Nadin-ahi to his brothers Bil-bullit-su and Marduk-balat-su-ikbi and the letter inside concerned land contracts. This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Clay letter with cuneiform inscription.cuneiform, envelope, letter, james dodgson, aquila dodgson, flinders petrie, theodore pinches, mr cutter

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This honey dipper is one of the many objects in the Haeusler Collection that represent home life in early twentieth century Wodonga.This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Wooden honey dipper c. early 1900shoney, bees, food, kitchen, wodonga, haeusler collection, domestic, family, household, tableware

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The photographer and subjects of this photograph are unidentified. It belongs to a collection of Haeusler family personal belongings, and is possibly a family photograph. This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A sepia toned group portrait photograph of people wearing Victorian era clothing at the seaside. photograph, photography, family photograph, portrait, photographic portrait, seaside, ocean, beach, victorian, wodonga, haeusler collection

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. Microscope company Olympus was founded by Takeshi Yamashita in Japan in 1919. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Two Olympus Microscope Bi P7X 7X eyepieces, and two Olympus Microscope Bi P15X eyepieces. Printed in gold on black plastic on two smaller eyepieces: "OLYMPUS/TOKYO/Bi/P15X/JAPAN". Printed in gold on black plastic on two larger eyepieces: "OLYMPUS/TOKYO/Bi/P7X/JAPAN".microscope, olympus, wodonga, haeusler, haeusler collection

Sydney PERN (c1876-1967) Dr Sydney Pern began practicing medicine in Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collection Aboriginal artefacts during travels in Central and Northern Australia. Dr Sydney Pern died aged 91 on 23 October 1967, and is buried in the Ballaarat New Cemetery. The ethnographic collection was housed at his home, 10 Raglan Street North, before being donated to the Ballarat School of Mines Museum. When the museum was closed in the 1960s Dr Pern requested that the collection pass to the City Council, and from there it was housed at the Gold Museum. An artwork by Sydney Pern was exhibited in the 1958 Crouch Prize at the Ballarat Fine Art Gallery. 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 oil on sketching paper seascape by Dr Sydney Pern Gift of David Alexander, 2013Signed lower right corner "S. Pern"art, artwork, pern, sydney pern, landscape, available

The Douay (Douai) Rheims Bible is an English translation of the Latin Vulgate Bible (which had been the Latin Bible used by the Catholic Church since the 4th century). It was produced by Roman Catholic scholars in exile from Elizabethan Protestant England at the English College of Douai (then in the Spanish Netherlands but later part of France). The New Testament translation was published in 1582 at Rheims where the English College had temporarily located in 1578. The Old Testament was translated shortly afterwards but was not published until 1609-1610 in Douay (which makes it older than the King James version). The completed work was the only authorized Bible in English for Roman Catholics until the 20th Century. Its purpose was to uphold the Catholic tradition in the face of the Protestant Reformation and was produced as an alternative to the several Protestant translations then in existence. Prior to it being published, the Roman Catholic practice had restricted personal use of the Bible, in the Latin Vulgate, to the clergy. Bishop Richard Challoner issued a series of revisions (1749 - 1772) intended to make the translation more easily understandable and subsequent editions (including this one) were based upon this revision. In 1871, an edition of the Douay - Rheims Bible was published by Thomas Kelly & Sons of Philadelphia (and later, New York). Thomas Kelly described himself as a "Publisher, Printer, Binder, Lithographer and Steel Plate Engraver". In 1876, Thomas Kelly won an award (a Diploma of Honor and a Medal of Merit) for "the Best Catholic Bibles and Prayer Books" at the International Centennial Exhibition held in Philadelphia and his firm continued to print editions of the Bible throughout the 1870's but little is known of him after 1880 when this edition was published. This Bible has been in the Kermond family from 1888 until 1984 when Laurence Kermond (its last owner) died. The Kermonds were an old Warrnambool family with ties to the district going back to the mid 1840's. Joseph Kermond's mother, Catherine (1818 - 1895) and her husband John Kermond,, an ex-convict (1809 - 1877), had moved from Tasmania around 1843 and were living in the Warrnambool area in 1844 where their eldest son was born. They had six more children born at Port Fairy (or Belfast as it was then called). Catherine is buried at the Tower Hill cemetery. The last owner of the Bible was Laurence Kermond (1918 - 1984). He was the great grandson of John and Catherine Kermond and was a well known painter who lived in the Merimbula and Paynesville areas of N.S. W. and Victoria during the 1970's and early 1980's. The story of Joseph Kermond finding the Bible on a beach on the Shipwreck Coast near Peterborough on the southern coast of Victoria, Australia is plausible as it was not uncommon for items from shipwrecks to be washed ashore. However this Bible would not have come from the wreck of the Loch Ard as the dates don't align. The Loch Ard was wrecked in 1878 and this Bible was printed in 1880. It appears to have been printed for the Australian market as there is a page (with an engraved portrait) dedicated to the "Most Rev. Roger Bede Vaughan, O. S. B. Archbishop of Sydney, N. S. W.". It may also have been aimed at the Irish immigrants as the four "Family Register" pages are decorated with borders of shamrocks. The donor found the Bible in a box of secondhand books on a market stall in Gippsland and recognised its links to the Shipwreck Coast through the name of previous owners (a well-known Warrnambool name) and the story of it being found on a beach near Peterborough. This Bible is a rare example of Douay and Reims Catholic Bible of the late 19th century that was once a treasured item belonging to the Kermond family - one of Warrnambool's early settlers. It also has a most unusual story attached to it - being found (and rescued) washed up on a local beach and almost one hundred years later, being rescued again from a secondhand book stall.This Catholic Bible is an 1880 edition of a "Douay Bible and Rheims Testament", printed and published by Thomas Kelly of New York. Its full title is "The Holy Bible translated from the Latin Vulgate Diligently Compared with The Hebrew, Greek and Other Editions in Various Languages". It is revised with annotations by the Right Rev. R. Challoner D.D. The Bible has brown leather embossed front and back covers decorated with identical ornate gilt patterns and a central picture of a cross. It has two coloured illustrations and numerous black and white lithographs and engravings including portraits of past popes, events and places from Bible stories and decorative borders. The Bible includes the Old and New Testaments, approbations from Pope Pius the Sixth and Archbishops of the United States and other countries (including Archbishop Vaughan of Sydney), a Family Register with handwritten notes on births, deaths and marriages from the Kermond family (as well as a description of how they obtained the bible), a Catholic dictionary of the Bible, a history of the Holy Scriptures, a chronological list of heretics (Theological history) and a description of the "Centennial Award - Diploma of Honor and medal of Merit" won by Thomas Kelly (for the "Best Catholic Bible") at the Centennial Exhibition at Philadelphia in 1876. The Records section has a note on the Memoranda page written by William John Kennard in 1920.Spine: HOLY BIBLE Title Page: THE/ HOLY BIBLE /TRANSLATED FROM/ THE LATIN VULGATE/ DILIGENTLY COMPARED WITH/THE HEBREW, GREEK AND OTHER EDITIONS/ IN VARIOUS LANGUAGES/ THE OLD TESTAMENT WAS FIRST PUBLISHED BY THE ENGLISH COLLEGE AT DOUAY, A.D. 1600 / AND THE NEW TESTAMENT, BY THE ENGLISH COLLEGE AT RHEIMS, A.D. 1582./ REVISED WITH ANNOTATIONS/ BY THE RIGHT REV. R. CHALLONER D.D./ TOGETHER WITH REFERENCES, AND AN HISTORICAL AND CHRONOLOGICAL INDEX./ NOW CAREFULLY CORRECTED ACCORDING TO THE CLEMENTINE EDITION OF THE SCRIPTURES/ NEW YORK / THOMAS KELLY, PUBLISHER/ 17 BARCLAY STREET. / 1880 Dedication Page: DEDICATION OF THE ORIGINAL EDITION/ TO/ THAT LOYAL, RELIGIOUS AND ENLIGHTENED BODY OF MEN / THE/ CATHOLICS OF THE UNITED STATES OF AMERICA/ IN ADMIRATION OF THE STEADY ZEAL WITH WHICH THEY HAVE KEPTTHE/DEPOSIT OF FAITH/ BEQUEATHED THEM BY THEIR FOREFATHERS/ AND HANDED DOWN, WITHOUT INTERRUPTION OT ADULTERATION, TO THEIR GRATEFUL POSTERITY/ THIS EDITION/ OF THE/DOUAY BIBLE AND RHEIMS TESTAMENT/ IS / WITH GRATITUDE FOR PAST FAVORS AND HOPES OF FUTURE ENCOURAGEMENT/ MOST RESPECTFULLY ENSCRIBED. Handwritten note: ""This Holy Book was found . on the beach . near Peterborough Vic. having been washed ashore . from the wreck of the Loch Ard, (sailing ship) in the year 1888 . By .Joseph . Kermond; and presented to . his mother . Catherine Kermond , who in turn passed it - on . to her youngest . son ; one Jacob Kermond. He in turn presented . it to his son . William John Kermond , (the writer), 23/3/20)" [Original punctuation]flagstaff hill maritime museum and village, warrnambool, shipwreck coast, peterborough, kermond, kermond family, loch ard, bible, douay and rheims bible, catholic bible, thomas kelly and sons publiisher, douai, rheims, holy bible, religious bible, catherine kermond, john kermond, william john kermond'

This tablespoon was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early 1930s, and this particular spoon dates from about 1866 to 1932. It is part of the John Chance Collection. This spoon has the embossed names of Pompton and Silver and appears to have other marks that have worn off. The Pompton brand was used on silver flatware made by Cooper Brothers & Sons. Ltd of Sheffield. In Australia the Pompton Silver cutlery was advertised for sale in Sydney in the mid-1920s. The spoon is likely to be plated silver or silver plate, which is a base metal such as nickel or nickel alloy with copper and/or zinc that has been plated or coated with a thin layer of silver. Wear on the metal will cause the base metals to appear through the silver plating. Some manufacturers gave a warranty that the cutlery was ‘white throughout’ but didn’t necessarily say it was solid silver. Cooper Brothers was established in 1866 by brothers Thomas and John William Cooper in High Street, Sheffield. They bought Don Plate Works in 1872. By 1876 they were at Bridge Street and in 1885 they purchased the works at 44 Arundel St Sheffield. In 1895 the firm became Cooper Brothers & Sons Ltd. By 1914 they had branches in London, Sydney, Melbourne and Montreal, advertising as silversmiths, silver cutlers, electroplaters, Britannia Metal smiths and cutlers, particularly spoons and forks. The firm also used the trademarks of DON SILVER, POMPTON SILVER and a logo of a Cooper (barrel maker) in different formats. Cooper Brothers & Sons had a reputation for producing good quality silver and silver plate. In 1900 they registered their Maker’s Mark of the letters ‘CB&s’ within a shield. They also used the Sheffield Assay Hallmark of a Crown. A diagram on a Copper Brothers & Sons, Don Plate Works, advertisement showed three styles of cutlery; No. 393, Old English, and Fiddle. They announced that they were the ‘sole makers of the celebrated “Don” brand of nickel silver spoons and forks’. A burglary in NSW in 1929 listed a stolen flatware set as ‘all Sheffield Silver plate and branded Pompton Silver Works A.1.’. It was ‘guaranteed to wear white throughout’ and was a ‘good, medium quality, nickel silver line’. Cooper Brothers & Sons Ltd. was acquired in 1983 by Frank Cobb & Co. Ltd. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery either as part of the ship’s flatware service or imported for use in Colonial Victoria in the 19th to early 20th century. The spoon is significant for its association with renowned makers Cooper Brothers of Sheffield, makers of silverware from the 1860s to the 1980s and exporters into the Colonies. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon; plated silver tablespoon with brown base metal. Handle is Old English design and is embossed - some marks are worn and unidentifiable. Branded Pompton Silver.Embossed within two rectangular shapes “POMPTON” and “SILVER” (other marks have worn off)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, cutlery, flatware silver, silver plate, antique flatware, old english flatware pattern, eating utensils, spoon, tablespoon, silverware, dining utensil, cooper brothers, don plate works, pompton silver, sheffield silver

Wooden pulley wheel section from the wreck “Newfield”. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast and at about 1:30am ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The Port Campbell rocket crew arrived and fired four rocket lines, none of which connected with the ship. A local man, Peter Carmody, volunteered to swim one mile to the ship with a line to guide the fourth and final lifeboat safely to shore. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Flagstaff Hill Maritime Museum has several artefacts that have been salvaged from the wreck. See also other items in the Flagstaff Hill Newfield Collection.The report from SHP documented the following in regards to the Newfield collection: Flagstaff Hill’s collection of artefacts from the Newfield is of historical and archaeological significance at a State level, because of its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of its relationship between the objects. The Newfield collection is archaeologically significant as it is the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 (Living with natural processes). The collection is also historically significant for its association with the shipwreck. The Newfield collection meets the following criteria for assessment: Criteria A: Importance to the course, or pattern, of Victoria’s cultural history Criteria B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criteria C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history This item is an oval-shaped brown and orange wooden shell from a ship’s pulley. The original wooden material is now petrified but the lighter coloured concentric rings of the wood's grain are still visible. A metal sheave or drum is fitted into the centre hole and some of the edge of its sheave’s collar has corroded and broken away. The collar has three holes of equal size that are evenly spaced around it. The bearing ring is now detached but still connected to the pulley with a string on which a label is attached. Most of the six cylindrical metal roller bearings are sand encrusted but some are still visible. Recovered from the wreck of the ship NEWFIELD.The pulley has a string through it that attaches it to the bearing. The label on the string bears the handwritten words “PULLEY WHEEL / NEWFIELD / PETER ROLAND”.block, flagstaff hill, maritime museum, shipwreck coast, warrnambool, peter carmody, carmody, newfield, shipwreck, pulley, wheel, pulley block, sheave, drum, peterborough, south west victoria, rocket, rocket crew, shipwreck artefact, flagstaff hil maritime museum

The photograph shows the three-masted iron and steel bark "Newfield" sailing in open seas. It event would have been between 1889-1892 during the ship's working life. ABOUT THE NEWFIELD The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast and at about 1:30am ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The Port Campbell rocket crew arrived and fired four rocket lines, none of which connected with the ship. A local man, Peter Carmody, volunteered to swim one mile to the ship with a line to guide the fourth and final lifeboat safely to shore. Seventeen men survived the shipwreck but the captain and eight of his crew perished. One of the men, apprentice William McLeod, was rescued by local woman Margaret E. MacKenzie. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Flagstaff Hill Maritime Museum has several artefacts that have been salvaged from the wreck. The report from SHP documented the following in regards to the Newfield collection: Flagstaff Hill’s collection of artefacts from the Newfield is of historical and archaeological significance at a State level, because of its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of its relationship between the objects. The Newfield collection is archaeologically significant as it is the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 (Living with natural processes). The collection is also historically significant for its association with the shipwreck. Black and white photograph of the three-masted sailing ship “Newfield” in the open sea, sails unfurled. The ship was built in 1859 by Alexander Stephen and Sons Limited of Dundee, Scotland. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, barque newfield, photograph, 1880s sailing ship

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied, double collar lip; square upper with flared lower. Neck has seams and shoulder seam from 3-piece mould. Body with horizontal ripples tapers inwards to base. Push-up base with pontil mark and embossed inscription. Tape over wire around mouth. Cork remnants inside mouth. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Push-up base with pontil mark and embossed inscription. Base is uneven, glass composition has imperfections.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable