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Flagstaff Hill Maritime Museum and Village
Tool - Wood moulding Plane, Christopher Gabriel, 18th Century
The story of Christopher Gabriel born on April 2, 1746, in Falmouth England is a tale of a poor boy who made good. Shortly before he turned thirteen years of age in 1759 he was apprenticed to a local master carpenter, recorded as a Mr Barnicot the master trained his apprentice well as we can assume by Christopher's later successes. The apprenticeship ended in 1766 after seven years when Christopher reached twenty. Then in 1768, he relocated to London walking the two hundred miles from Falmouth carrying his possessions in a sack. He no sooner arrived in London when he met Alice Trowell who became his wife in March 1769. They set up house on Albermarie Street Clerkenwell and by the first of 1770, Gabriel had begun his business of plane making. It has been speculated that Gabriel took over the shop of John Cogdell aided with an investment from his in-laws of 131 pounds. He went on to prosper as a plane maker and lumber merchant over the next forty years. His business did well and in 1774 Gabriel moved to a house in Golden Lane, London and 1779 moved again to a home in Ould Street London. By now Gabriel was making a name for himself and his business at this time was located at 32 Banner Street Golden Lane, the following year he purchased another home in Banner Street and 1793 purchased the house next door. At the time of his death in 1808, he owned twenty-seven houses and commercial building. Christopher Gabriel s descendants became quite prominent in England and his grandson, Sir Thomas Gabriel became the Sheriff of London and Middlesex in 1859 and the Lord Mayor of London 1866 and 1867. Gabriel was an extremely prolific plane maker with a lot of examples made in the 18th century can still be found today. He made good quality tools and was an innovator of several new plane designs. A vintage tool made by a well-known plane maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could give a decorative finish to timber. These planes came in various shapes and sizes to achieve a finish to timber surfaces and came in many sizes. A significant Christopher Gabriel plane from the mid to late 18th century that after 200 years can still be used today. Planes made by Gabriel are eagerly sought after by collectors. The tool gives us a snapshot of how furniture and other finishes were created on timber by the use of cutting edged hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative or even finish that was needed for the finishing of timber items. Plane Moulding Reverse Ogee with two squares type Maker stamped Gabriel also stamped JB & No 9flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding wood Plane, Richard Routledge, Mid 19th to early 20th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about Richard Routledge is that he was a tool maker and retailer that operated a business at either 23 or 64 Bull St Birmingham between 1869 to sometime in the early 20th century. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool made by a little known maker, this item would have been made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. At a time when to produce a decorative moulding for a piece of furniture, door trims etc. had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Moulding plane round type Marked Routledge 64 Bull Street also stamped (JAS Burden owner)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Complex Moulding Plane, Mid to Late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve a decorative finish. Although the item is marked J Dixon no reference can be found at this time for a maker of complex moulding planes J Dixon of London. The plane could have been made by an unknown maker and sold through a merchandising agent of which there was one in London at the time. It is this agent J Dixon that could have stamped his mark on the item and then sold the plane on giving the impression J Dixon was the maker, this practice was quite common in the 18th & 19th centuries. This item is still regarded as a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Panel Plough Plane white wood, blade missing. Stamped "J Dixon London" also has the letter "B" stamped flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood working, cabinet making, complex moulding plane, j dixon london, mouldings -
Flagstaff Hill Maritime Museum and Village
Tool - Wood moulding plane, G Davis, 1821-1876
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about George Davis is he and his successors made planes in Birmingham, England, from about 1821 to 1876. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his moulding planes are well sought after by collectors of vintage tools. A vintage tool made by a known maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve a decorative finish. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Moulding plane centre bead, also called Single Bead Reeding Plane. Stamped maker G Davis Has GM inside W (owner) flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane, moulding, single bead reeding plane -
Flagstaff Hill Maritime Museum and Village
Tool - Wood Moulding Plane, William Bishop, 1818
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about William Bishop is that he made planes in Grey Coat St Westminster, London, around 1818. He is listed in business directories of the time but nothing before or after this date. There are many of his decorative moulding planes of all sizes and designs for sale and given that his moulding planes are vintage his wood planes are well sought after by collectors today. A vintage tool made by a little known maker, this item was made for cabinet makers and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve the required decorative finish. This item is a significant tool from the late 18th to early 19th century that today is quite rare and sought after by collectors of vintage tools. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Plane Moulding Hollow type Marked Burden (Owner) also stamped JB and Iflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Groove Plane, Prior to 1950
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. The subject planes blade is designed to cut a groove and it's blade maker (M Gilmour) is not listed by collectors of vintage planes as a known plane makers of the 19th or 20th century.A vintage tool made by an unknown maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce an ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve the required decorative finish. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Grooving PlaneM Gilmour stamped on bladewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, moulding plane, groove plane, joiners tools, hand plane, carpenters tools -
Flagstaff Hill Maritime Museum and Village
Functional object - Receipt Paper Spike, 1910-1925
Item used in offices to secure receipts and other paper work by piecing the paper itemsSignificant as a decorative object used in offices from the early 20th centuryMetal spike for paper or receipts Item has a square ornate base decorated within its casting a floral design. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spike, paper spike -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, round shank that flares out slightly above the collar on the bit. The rectangular bit has internal notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends.The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, narrow collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, narrow collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The Rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Round, thin open bow with 'B' shaped internal space, collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space. Round narrow shank flares out slightly above the collar on the bit. The rectangular bit has has external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, circa 1866
The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends.The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance -
Flagstaff Hill Maritime Museum and Village
Photograph - Set of Photographs, John Chance, late 1960s to early 1970s
This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392 -
Flagstaff Hill Maritime Museum and Village
Painting - Maritime, 19th century
This handmade picture has been painted on a cast plaster or composition frame. Plaster frames were popular in the e19th century. The material is quite fragile and many pictures from this era suffer from damage such as chips and cracks.This simple handmade painting on cast composite frame is typical of 19th century art work found in middle and upper class Victorian homes of that era. It cannot be attributed to a particular artist due to lack of inscriptons.Painting, oil on composite material, handmade Pink coloured cast composite oval frame with decorative border. Painting depicts two figures in a small green boat on the shore, sandy beach, rocks nearby, small surf waves, mild sea, two sailing vessels in background. No inscription on front of painting. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, victorian art work, maritime scen, composite material, plaster, cast frame, oval frame, victorian era -
Federation University Historical Collection
Book, Ballarat Technical Art School Register, 1955-1971
The Ballarat Technical Art School (No. 10) was a division of the Ballarat School of Mines. Green ledger with black spine. Lists Student Number, Name, Trade or Occupation, Age at Last Birthday, Address, Date of Joining the School, Course Work. Courses listed include dressmaking, Elementary Art, Ticket Writing, Shorthand, Drawing, Pottery and Drawing. Pottery, Millinery. Junior Art, Building Construction, Matriculation Art, Needlework, Painting, Life Class, Decorative Needlework, General Art Course, Sculptureballarat technical art school, art general register, student enrolments, alumni, art studies, ballarat school of mines -
Warrnambool and District Historical Society Inc.
Book, The Inimitable Mr Meek, 2015
This catalogue was written by Joan Luxemburg for the Art Gallery of Ballarat Exhibition of James Meek works (13th June to 9th August 2015). It is not intended as a full biography of James Meek and concentrates on his decorative works. Joan Luxemburg has spent many years researching the life and works of James Meek and the exhibition and catalogue are part of a PhD project at Federation University. A biography of James Meek by Joan Luxemburg is due for publication in 2016. English-born James Meek, a fisherman, cannery operator, poet, writer, explorer in the Otway district, librarian, calligrapher and accountant, was one of the first settlers in Ballarat, building the first house and establishing a cordial and sly grog business. After some time in Melbourne he came to the Warrnambool area, becoming an early settler in the Peterborough area and establishing a cannery there. In Warrnambool he set up a commercial fishing company which failed, organized an Otways exploration trip looking for gold and established a reputation for producing fine calligraphy works. He was in New Zealand from 1874 to 1890 and died in Warrnambool in 1899. This catalogue is important because it records the decorative works of James Meek, an important early settler in Warrnambool and district. Meek was well-known in Warrnambool in the 1850s and 60s as a commercial fisherman, an Otways explorer, a writer and lecturer and a calligrapher. One of his daughters married Peter Dallimore, a fellmonger at Lake Gillear and the Dallimore family is also prominent in our history. The Art Gallery of Ballarat 2015 Exhibition of Meek works featured one of our Meek documents, a Fidler Family tree.This is a catalogue with a reinforced plastic-covered cover. It has 87 pages with illustrations and photographs. The sepia-coloured cover features a portion of a James Meek work of calligraphy.Front cover – ‘The Inimitable Mr Meek’ Back cover – Art Gallery, Ballarat james meek, the inimitable mr meek, james meek artist -
Warrnambool and District Historical Society Inc.
Book, A section of Poems, Mid 1930s
This booklet of poems has been compiled by Thomas Terrington. Born in 1897 Tom Terrington worked at dairying, fencing, carpentering and woodcutting before taking over the Framlingham store when he was in his forties. He was a scholarly person with a wide knowledge of English literature. He was a well-known local poet and a member of the Australian Poetry Lovers’ Society. He wrote extensively on local history and his unpublished ‘History of Framlingham’ is in the State Library. Framlingham is a small settlement 25 kilometres north east of Warrnambool. This booklet is of interest as it contains some of the poems written by Tom Terrington, an important resident of Framlingham in the 20th century. This is a soft cover book of 24 pages. The cover is green with black decorative borders and black binding. The pages have black printing on green paper. The last few pages are missing. The cover is faded and a little torn. There are ornamental scrolls and patterns in black throughout the pages. tom terrington, history of framlingham -
Churchill Island Heritage Farm
Clothing - Neckpiece, Small
Just 23cm in length, this lovely piece is an example of handmade Maltese silk lace. Maltese lace has an interesting history. It began as a needle lace which was developed in Genoa and in 1530 was brought to Malta and Gozo by the Knights who were sons of noble families in Europe. This was a time of great demand and lace was used in the clothing of men, women, children, and the clergy for its decorative element but also as a sign of wealth and status. In the mid 1800s Lady Hamilton Chichester sent lacemakers from Genoa to Malta where they turned the old needle lace patterns to bobbin lace which was much faster. The art of lacemaking is still taught in Malta in evening classes, government trade schools for girls and at the School of the Arts. Maltese lace can be identified by the following characteristics: a) cream silk, b) 8-pointed Maltese cross worked in cloth stitch c) closely worked leaves or ‘wheat ears’ all of which occur in this pieceThe Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Handmade Maltese silk lace lace, churchill island, janet amess lace collection, neckpiece, clothing, garment, amess, maltese, silk, handmade -
Port Melbourne Historical & Preservation Society
Decorative object - Wall Hanging, Noah's Ark, Nott Street State School, Year 3 children at Nott St Primary School, 1960s
Posted to the Society anonymously. Richmond postmark, explanatory note included. The Society investigated the origin with no success.Mustard coloured hessian wall hanging of Noah's Ark animals. Very colourful appligue work using wool, feathers, buttons, various fabrics. Made by Year 3 children at Nott Street State School in the early 1960s. Also 3.5 metre blue cord.education - primary schools, arts and entertainment - community arts, nott street state school -
Tramway Heritage Centre
Photograph Album (part of), Ray Pearson's Photo Album - Trams of Victorian Railways, Ballarat, Bendigo, Geelong
Page 11 of Ray Pearson's Photo Album. Brown card page with four photographs (3 x landscape, 1 x portrait format) placed on page using metallic look and brown card decorative photo corners. All photographs depict trams. Hand written inscriptions are written under each photograph.Hand written inscription in white-out or white pen beneath phorograph on - Top left: WORK CAR ELWOOD DEPOT Top right: CROSS BENCH CAR No 23 SANDRINGHAM Bottom left: SALOON CAR No 3. V.R. TRAMS ELWOOD Bottom Right: END VIEW SMALL CAR St KILDA STATIONvictorian railways, melbourne tramways, vintage tram, elwood depot, elwood trams, cross bench car -
Wangaratta Historical Society
The Painted Glass Window
This window was originally above the door at 29 Murphy Street, a butcher shop run by Jas. Ferguson and Company and later bought by Bob Hoysted who had worked for Jas Ferguson as an apprentice. The window sits in a painted wood frame and illustrates a pastoral scene with a cow, two grazing sheep and a path leading to an open gate. Butcher shops typically illustrated their business with illustrations of the animals they sold. The painted glass pieces are held together by lead. Some of the pieces are textured. The artist is unknown. It is possible that the window was imported from Europe since decorative glass works in Australia at the end of the 19th century were rare, if not non-existent. Decorating store fronts with windows such as this one was popular in Melbourne at the end of the 19th century. -
Dutch Australian Heritage Centre Victoria
Decorative Cake Slide (Sier Taart Schep)
A much decorated filigreed silver-coloured cake slide. The main scene is a detail from Rembrandt's "The Night Watch" worked in relief on the slide. -
Dutch Australian Heritage Centre Victoria
Balinese Woodcut
Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 14th century. From the sixteenth until the twentieth centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the twentieth century, new varieties of Balinese art developed. Since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art.This is likely a memento of the Dutch/Indonesia era.Carved and lacquered wooden image of male and female heads. Each is wearing a highly decorative headdress giving the impression of a special ceremony such as a wedding. The necks of the figures merge into further carving, this time of an abstract theme. -
Melbourne Legacy
Badge, Legacy Appeal Badge - $20
An example of badges issued by Legacy for fundraising during the Legacy Appeal and Badge Week. The donation value was $20. The date is not known. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Example of Legacy badges that were sold up to raise money for Legacy's work. Legacy Appeal pin with the Legacy torch, it is gold with green enamel around a torch with red enamel in the flame. It is a decorative oval shape.On the reverse 'A J Parkes / $20'.legacy appeal, fundraising, badge week -
Wodonga & District Historical Society Inc
Domestic object - Silver Filigree Thimble, c1900s
This item is from a collection donated by descendants of John Francis Turner of Wodonga. Thimbles were used for both practical and decorative purposes and were created in a range of styles. Popular history also suggests that roots of the modern-day wedding ring in America had an interesting tie to a thimble. Puritans that colonized in early America did not believe in adornment. A common practice among these early Americans was for a man to present a thimble to his fiancée which was symbolic of his wish to marry her. These brides began to cut off the rim on these thimbles and making a simple band they would wear on their finger. Thus, the practice of wedding rings for women started.This item comes from a collection used by a prominent citizen of Wodonga. It is also representative of a domestic item common in the 1930s.A silver thimble decorated with filigree work above a solid bottom section.domestic items, filigree thimble, womens social history, women's work -
Mont De Lancey
Furniture - Table
A music box table with a decorative hinged lid of dark brown, light brown, yellow and green inlaid timber in a pattern of nine squares and rectangles on the top of the lid. Inside is plain wood with a recessed open box cavity. Around the edges of the table under the lid on the outside there is a green and yellow patterned inlay. It has four finely shaped wooden legs."Hand work Made In Italy"music boxes, tables -
Kew Historical Society Inc
Decorative object - Set of four doilies, 1950-1960
In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseau Set of partially worked doilies. They are comprised of daisy wheels of two sizes. A central circular motif is surrounded by smaller motifsdoilies, household textiles -
Kew Historical Society Inc
Decorative object - Pair of embroidered doilies, 1950 - 1960
In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseauSet of two white embroidered doilies. Scalloped edge has crotcheted finish. An embroidered leaf and half flower pattern on two opposing corners and embroidered quarter flower on the other two corners. There is an embroidered flower in the centre. There are six sets of embroidered holes to thread a ribbon through to gather the larger doily.doilies, household linens