Showing 2390 items
matching crank-shaft
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Tennis Australia
Racquet, Circa 1980
Two-part object. (1) A Fischer 'Powerwood' model tennis racquet, with teardrop shaped head, cloth whipping on shoulders, handle wrapped in perforated leather, and a plastic butt cap impressed with manufacturer logo. Modela name on base of head; manufacturer name and logo along shaft. (2) Brown vinyl racquet head cover printed with manufacturer logo and name in silver. Materials: Wood, Vinyl, Adhesive tape, Cloth tape, Leather, Ink, Plastic, Paint, Metaltennis -
Tennis Australia
Racquet, Circa 1985
An Esquire 'Flex' tennis racquet with open throat and handle wrapped with leather. Original plastic shop wrap moulded to handle and has adhesive labels printed with information/prices in Taiwanese. Manufacturer name across base of head. Model name printed along pillar of throat. Word 'GRAPHITE' printed on crown. Plastic butt cap features manufacturers 'E' logo. Logo also featured at base of shaft. Materials: Graphite, Adhesive tape, Plastic, Leather, Ink, Vinyl, Metaltennis -
Tennis Australia
Racquet, Circa 1905
A Wright & Ditson 'The Hub' model tennis racquet with composite convex throat. Model name printed across crown on obverse. Name of manufacturer and place of origin (Boston, Mass. USA) printed across throat on obverse. Manufacturer's trademark/logo features across throat on reverse. Octagonal handle with makeshift leather end wrap attached with nails. Inscription on side of shaft: PATENTED JAN. 3, 05. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, Guttennis -
Tennis Australia
Racquet, Circa 1920
A Wright & Ditson 'The Hub' model tennis racquet with composite convex throat. String whipping reinforcements around shoulders. Plastic tape around base of throat. Model name printed across throat on obverse. Manufacturer's trademark/logo features across throat on reverse. Fine grooved octagonal handle with leather end wrap and butt cover. Manufacturer name and country of origin imprinted on side of shaft. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, Gut, Plastictennis -
Tennis Australia
Racquet, Circa 1926
A Wright & Ditson 'WLS Blue Ribbon' tennis racquet. String whipping and blue plastic reinforcements around shoulders. Racquet model name 'BLUE RIBBON' , printed along throat on obverse and model name 'WLS' printed as lightning bolts across throat on reverse. Manufacturer name and place of manufacture printed on right side of shaft. Octagonal fine-grooved handle, with leather end wrap. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, Gut, String, Plastictennis -
Tennis Australia
Racquet, Circa 1905
A Wright and Ditson 'Champion' tennis racquet, with: laminated convex throat; cloth tape reinforcements around shoulders; and, fine-grooved, thick octagonal handle. Decal inscription across throat on obverse: CHAMPION. Wright & Ditson Championship logo, with tennis player on ball trademark feature on throat on reverse. Patent details (JAN. 3 '05) featured along left side of shaft. Materials: Wood, Lacquer, Glue, Metal, Paint, Ink, Leather, Gut, Cloth tapetennis -
Tennis Australia
Racquet, Circa 1925
A Spalding 'Gold Medal BW' tennis racquet, featuring: concave throat; bevelled crown; whipping around shoulders; a wide, flat shaft; and, mid-grooved, thick octagonal handle. SPALDING/BW features across throat on obverse. Decal of model name and wreathed medallions emblem features across throat on reverse. 'A.G. Spalding & Bros. Made in U.S.A.' logo encircling ball trademark is impressed on butt cover. Materials: Wood, Lacquer, Glue, Metal, Ink, Gut, Leather, Stringtennis -
Tennis Australia
Racquet, Circa 1924
A Spalding Kro-Bat model tennis racquet, featuring whipping around shoulders, an concave laminated throat, fine-grooved handle and leather end wrap & butt cloth. Model & manufacter name feature across throat on obverse. Manufacturer signature features along throat on reverse. On side of shaft is printed: 'PAT. OCT. 03,, 1923'. Manufacturer's logo printed on butt cloth. Materials: Wood, Metal, Lacquer, Glue, Leather, Vinyl, Ink, String, Painttennis -
Tennis Australia
Racquet, Circa 1930
A Spalding 'Lakeside' model tennis racquet, featuring concave throat & striped plastic whipping around shuolders. Handle wrapped in perforated leather. Has leather butt cloth. Model name and manufacturer name printed on throat. 'SPALDING' also printed on butt cloth. Adhesive tape along crown and around base of throat. Name 'JAMIE' written on shaft with black marker. Materials: Wood, Metal, Lacquer, Glue, Vinyl, Ink, String, Leather, Paint, Adhesive tape, Plastictennis -
Tennis Australia
Racquet, Circa 1923
A Spalding 'Lakeside no.5' model tennis racquet, featuring concave throat & fine-grooved octagonal wooden handle. Has string whipping and plastic reinforcements around shoulders. Plastic reinforcement around shaft too. Also has a leather end wrap and leather butt cloth. Model name printed on throat on obverse, and manufacturer logo printed on throat on reverse. Logo also printed on butt cloth. Materials: Wood, Metal, Lacquer, Glue, Gut, Ink, String, Leather, Plastictennis -
Tennis Australia
Racquet, Circa 1945
A Spalding 'Olympic' tennis racquet, with an open throat, plastic whipping around shoulders and plastic molded collar, and a plain leather handle grip. Manufacturer's name features across base of head, and on cloth butt cover. Model name features across collar. Spalding wreathed ball trademark (i.e. MARCA REGISTRADA/SPALDING), features on shaft, on obverse. Materials: Wood, Glue, Metal, Lacquer, Nylon, Leather, Ink, Enamel, String, Plastic, Cloth, Adhesive tapetennis -
Tennis Australia
Racquet, Circa 1958
A Spalding 'Davis Cup' tennis racquet, with whipping around shoulders, fibre shoulder supports, leather handle grip with X-formation perforations, and plastic butt cap. Manufacturer's name features across base of head. Model name, with Davis Cup trophy image, features on throat. Spalding 'Wreathed S' trademark features on lower shaft and butt cap. Materials: Wood, Glue, Metal, Lacquer, Nylon, Leather, Ink, Enamel, String, Adhesive tape, Plastic, Fibretennis -
Tennis Australia
Racquet, Circa 1926
A Wright & Ditson 'Columbia' tennis racquet, with: concave throat; bevelled crown; whipping around shoulders; transparent red plastic collar; and, mid-grooved handle. Model name features across throat on obverse. Manufacturer details feature along right side of shaft. Wright & Ditson Championship 'tennis player on ball' trademark features across throat on reverse, and on butt cover. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, Gut, String, Paint, Plastictennis -
Tennis Australia
Racquet, Circa 1973
A Wilson Stan Smith Autograph tennis racquet. Base of head features Wilson logo, flanked by two pairs of brown diamond devices. Throat features model name, with a black and red silhouette of Smith in action. Lower shaft and butt cap feature 'W' trademark. Racquet features Wilson brand leather handle grip. Autograph by Smith across throat on reverse. Materials: Wood, Nylon, Leather, Glue, Metal, Lacquer, Paint, Adhesive tape, Ribbon, Plastic, Fibreglasstennis -
Tennis Australia
Racquet, Circa 1932
A wooden tennis racquet with hide supports, blue and gold string whipping, and a leather handle grip with patterned perforations. Inscription along throat and shaft on obverse: SUPER/WINNER/BANCROFT. Inscription across throat, on reverse (now removed): F.J. BANCROFT/.../PAWTUCKET/R.I. U.S.A./... Original decal trademark comprises of an eagle grasping a tennis racquet, in front of the Globe, with motto: USED/THE WORLD OVER. Materials: Wood, Gut, Leather, Glue, Lacquer, Metal, Ink, String, Cloth, Hidetennis -
Tennis Australia
Racquet, Circa 1976
An unstrung Bancroft Executive tennis racquet, with bamboo and fibreglass laminates, ribbon whipping around shoulders, and leather handle grip with X-formation perforations. Bancroft logo features across base of head. Throat features model name within a wreath device. Wreathed black 'B' trademark features on lower shaft, and red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Ribbon, Adhesive tape, Bamboo, Fibreglass, Hidetennis -
Tennis Australia
Racquet, Circa 1976
A Bancroft Executive tennis racquet, with bamboo and fibreglass laminates, ribbon whipping around shoulders, and leather handle grip with X-formation perforations. Bancroft logo features across base of head. Throat features model name within a wreath device. Wreathed black 'B' trademark features on lower shaft, and red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Ribbon, Adhesive tape, Bamboo, Fibreglass, Nylon, Hidetennis -
Tennis Australia
Racquet, Circa 1976
A Bancroft Tear Drop tennis racquet, with egg-shaped, elliptical head, bamboo and fibreglass lamination, and leather handle grip with patterned perforations. Bancroft logo features across base of head. Throat features model name with teardrop emblem. Wreathed golden 'B' trademark features on lower shaft, and red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Gut, Adhesive tape, Fibreglass, Nylon, Bambootennis -
Tennis Australia
Racquet, Circa 1976
An unstrung Bancroft Aussie tennis racquet, with hide reinforced shouders, ribbon whipping around shoulders, and leather handle grip with patterned perforations. Bancroft logo features across base of head. Throat features model name with wreathed black 'B' trademark. Lower shaft features red and gold diamond '1882' trademark. Red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Adhesive tape, Hide, Ribbontennis -
Tennis Australia
Racquet, Circa 1976
An unstrung Bancroft Aussie tennis racquet, with hide reinforced shouders, ribbon whipping around shoulders, and leather handle grip with patterned perforations. Bancroft logo features across base of head. Throat features model name with wreathed black 'B' trademark. Lower shaft features red and gold diamond '1882' trademark. Red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Adhesive tape, Hide, Ribbontennis -
Tennis Australia
Racquet, Circa 1976
A Bancroft Aussie tennis racquet, with hide reinforced shouders, ribbon whipping around shoulders, and leather handle grip with patterned perforations. Bancroft logo features across base of head. Throat features model name with wreathed black 'B' trademark. Lower shaft features red and gold diamond '1882' trademark. Red 'B' trademark on butt cap. Materials: Wood, Leather, Glue, Lacquer, Metal, Ink, Plastic, Paint, Adhesive tape, Hide, Ribbon, Nylontennis -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Tools, metal scythe, c1880
A scythe is an agricultural hand tool for mowing grass or reaping crops. It was largely replaced by horse-drawn and then tractor machinery. A scythe consists of a wooden shaft and a long, curved blade is mounted at the lower end, perpendicular. Scythes always have the blade projecting from the left side when in use. Mowing is done by holding the handle , with the arms straight, the blade parallel to the ground and very close to it, and the body twisted to the right. The body is then twisted steadily to the left, moving the scythe blade along its length in a long arc from right to left, ending in front of the mower, thus depositing the cut grass to the left. Mowing proceeds with a steady rhythm, stopping at frequent intervals to sharpen the blade. The correct technique has a slicing action on the grass, cutting a narrow strip with each stroke Mowing grass is easier when it is damp, and so hay-making traditionally began at dawn and often stopped early, the heat of the day being spent raking and carting the hay cut on previous daysEarly settlers and market gardeners used these scythes as they established their farms in Moorabbin Shire c1880A large metal scythe with a wooden handle x 2early settlers, pioneers, market gardeners, moorabbin, bentleigh, brighton, cheltenham, tools, blacksmiths -
Wodonga & District Historical Society Inc
Domestic object - Lady Sunbeam Home Hair Dryer, Sunbeam Corporation Australia, c1960
Sunbeam produced a wide range of hair dryers in a variety of sizes and shapes throughout the 1960s. Lady Sunbeam was promoted as providing unequalled efficiency as well as extra convenience and comfort. Whilst you dried your hair, you were able to sit and relax, read a book, write letters, knit or apply your nail enamel. The added convenient shoulder strap enabled you to complete other small household chores such as ironing - as long as they could be carried out within the distance of the power cord. Sunbeam History The Sunbeam Corporation began in Australia in 1902 as a small branch of the American group, Chicago Flexible Shaft Company.In 1946, this company changed its name to Sunbeam Corporation and developed the slogan "Best Electric Appliances Made". The company became publicly traded in 1952 and came into Australian ownership in 1987. In 1948 the company launched the Sunbeam Mixmaster®, the first small electrical appliance to be manufactured in Australia. In 2020, the company changed its name to Newell Australia.This item is representative of a range of domestic appliances used across Australia in the 1960s to make home life simpler and more convenient.Hair dryer in portable round plastic hinged case with motor fitted within the base. Plastic wire coiled hose is attached to the motor. A plastic hood edged with elastic and lace adjustment is fitted to the end of the hose. The hood has a pattern of gold embossed flowers. The motor has settings off, cool, warm, med, hot. An electric cord and plug are attached to the motor. The lid closes with a sprung knob and has a plastic carry handle. The "Lady Sunbeam" Logo is embossed on the lid.On lid: Lady Sunbeam / HAIR DRYER Underneath unit: MODEL AHD-7 220-250V 50CYC 300W.AC. ONLY/ PATENT PENDING RD.NO.42.338 MADE IN AUSTRALIA / Sunbeam CORPORATION LIMITEDsunbeam australia, domestic appliances, hair dryers -
Mont De Lancey
Decorative object - Cobb and Co Coach Model, Chas W Davis
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Cobb and Co coach replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a red Cobb and Co enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two light brown and grey horses. The name ROYAL MAIL COBB.CO is painted in white lettering on both sides. It has four gold painted spoked wheels with black rims, two gold painted coach lamps, black padded seating and four open windows with blinds that are rolled up. There are 2 doors with a drop-down step for easy access into the coach. A long brown wooden shaft separates the horses which also have black leather shaft style straps on both sides as well as the necessary horse tack for carriage use to help the driver communicate with the horses. There is a black wooden slotted luggage rack at the back held on by gold chains. On top of the coach is a decorative gold painted luggage rack. Freeman Cobb established Cobb and Co in Australia in 1853 to operate horse drawn mail and passengers between Melbourne and the Victorian Goldfields. It expanded to Queensland in 1865. ROYAL MAIL COBB.COreplicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, postal services, road transport, goldfields, coaches -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture - ceramic, Alnis Ansons, Brighton Council Chambers Mural, 1961
Alnis Ansons (1928-2015) was introduced to architect Kevin Knight in the lead-up to the opening of the Brighton Municipal Offices in 1961. The architect, on seeing some relief work in the artist’s home, asked Ansons if he would attempt an ambitious 70 square metre work within the council building which would wrap around the lift shaft of the three storey building. The tight deadlines and budgetary constraints imposed on the project impacted on the artist’s process but, in adapting to these limitations, Ansons developed a bold and original technique for producing commercial ceramic works. The mural, which symbolises the people of Brighton at work, worship and play, is constructed from hundreds of individual ceramic casts that have been treated with an engobe, similar to an underglaze, to produce a myriad of colours. The pieces were then fired only once, and grouted with copper grouting from top to bottom, creating a three-dimensional effect on the central column in the council chambers. Ansons was assisted during the installation by his future wife, Ralda, who was tasked with holding the pieces in position as they dried, to prevent them from sliding or shifting.Alnis Ansons, Brighton Council Chambers Mural 1961, ceramic. 750 x 595 cm. Bayside City Council Art and Heritage Collection. Commissioned c. 1960Circular ceramic relief mural around lift well in Brighton Council Chambers. The work begins on the ground floor of the Brighton Library, through to the mezzanine level up to the Chambers. mural, public art, alnis ansons, brighton council chambers, brighton library, ceramic, kevin knight, bayside chambers, bayside city council -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, c.1878
This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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 seven 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 LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 80% of original electroplating survives, with some verdigris. There is sedimentary encrustation on the bowl, and the shaft is bent. Outlines of four makers marks are visible and the details of one are legible (2) Resurrection Cross.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks, william page & co, birmingham, william page & co, birmingham -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, c.1878
This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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 seven 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 LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 45% of original electroplating remains, with some verdigris. It has a bent bowl and shaft. Outlines of five makers marks are visible on lower rear of handle, and details of one are legible (1) Trade Mark. flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks, william page & co -
Bendigo Historical Society Inc.
Document - JOSEPH DAVIES COLLECTION: ILLUMINATED ADDRESS FROM CITIZENS OF THE BENDIGO MINING DISTRICT, 14/10/1919
Illuminated address enclosed in a brown leather folder, embossed with gold leaf pattern. Letter on RH page, photo of Mr. Joseph Davies (The hero), photo of Goldfields Consolidated Mine, and diagram of mine shaft showing location of rescue on left hand page of address. Address to Mr. Joseph Davies, resolution moved by Sir John Quick, congratulating him on his heroism in saving the life of his mate, Mr. J. Allan, at the Goldfields Consolidated mine last Friday, Dated 14th October, 1909.person, mining, joseph davies, joseph davies, illuminated address, sir john quick, mining, goldfields consolidated gold mine -
Bendigo Historical Society Inc.
Document - DRAINAGE PROBLEMS - INRUSH OF WATER AT THE VICTORIA QUARTZ
Two handwritten extracts from the Bendigo Advertiser 17/6/1910 regarding the inrush of water at the Victoria Quartz Mine. 'When the inrush of water came on Tuesday night, the men had to make a hurried exit from the bottom of the shaft and 4254 ft. plat. The working equipment left below consists of three rock-drilling machines, air-winch, two trucks, about one ton of drills, while rails, air-pipes, etc, below the 3224 ft. plat are not likely to be recovered'.document, gold, drainage problems, new chum drainage association, inrush of water at the victoria quartz, bendigo advertiser 17/6/1910 page 3, ar -
Bendigo Historical Society Inc.
Document - NORTH JOHNSONS MINE - NOTES ON THE NORTH JOHNSONS MINE
One typed, one handwritten and one handwritten carbon copy of notes on the North Johnsons Mine on the Garden Gully Line of Reef. Notes include size of lease (which was very small, only 83 yards along the line of reef, and the late 1890's absorbed the Rose of Denmark lease, the next mine north, of 57 yeards along the line of reef, Depth of shaft, height of Sill, Locality, Plant, Early History, Prominence, Best Gold, Total Gold Yield and Dividends,Underground Connections and References.document, gold, north johnsons mine, north johnsons mine, garden gully line of reef, rose of denmark, camerons reef, dagmar reef, johnsons no 1, johnsons no 2, special edition australian mining standard 1/6/1899, mines dept booklet bendigo goldfield geo brown 1936, mines dept quarterly and annual reports, annals of bendigo mining sections 1866 - 1917, a richardson, e j dunn's special report no 1 measurements taken from north johnsons mine transverse section 22/9/1892, wood & mcnair sharebrokers plan of leases of portion of bendigo goldfield to 4/5/1912