This photograph depicts mining operations within the Beechworth area, in an unidentified valley where sluicing was utilised as a method for extracting gold from the environment. After gold was discovered in the region in 1851, sluicing became a characteristic of gold mining in the region - "Ovens miners carved intricate networks of races" throughout the region - involved the diversion of water in many channels, or water races, which contained inbuilt 'ripple devices' designed to trap gold for later extraction. By 1871, 900 miles of water races had been cut into the Beechworth Mining District. As suggested by the numerous figures involved in labouring along the water race, sluicing was a source of considerable employment within the region. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the 1850s, and provides clues as to how sluicing and the widespread construction of water ranges changed the environment of the region. This image is important for current research into the history of the Ovens region in Victoria, which played such a prominent role in the early Australian gold mining industry. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to gold sluicing and and the mining activities in the area more generally, which can be analysed and studied alongside images like this one.A black and white rectangular photograph printed on matte photographic paperbeechworth, mining, miners, labour, water race, sluicing

This photograph depicts the Great Southern Mine located in Rutherglen as it was during the 1900. After the initial Gold Rush of 1853-1854, Gold was discovered deeper under the surface of the earth in the 1860 after the discovery of another deep lead system. Due to the discovery of Gold in Rutherglen, Rutherglen developed into a community in its own right, possessing a population of 6600 by December 1860 and developed into a municipality in 1862. The Great Southern Mine depicted in this photograph required the use of a range of modern technologies, including the hydraulic pumps, in order to reach gold. This photo depicts the mining operations as they were undertaken around the turn of the century.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray a modern mining operation undertaken in the 1860s, can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about the methods used to extract gold in 1900. It is significant as most mining operations around the region, particularly earlier on in the period, used different technologies such as water races. This image is important for current research into the history of Rutherglen more generally, a town which developed singlehandedly due to the discovery of minerals and mining, as depicted here in this photograph, thus indicating an element of social significance as well as historic. The Beechworth Burke Museum has additional images relating to mining and Rutherglen which can be analysed and studied alongside images like this one.A black and white rectangular photograph printed on matte photographic paper.Reverse: $ 3.00 19972503 / a02503 / Great Southern Mine Rutherglen 1900rutherglen mine, rutherglen, great southern mine, beechworth, mine, mining, post goldrush, victoria, gold, 1860s, sluicing, hydrolic sluicing

Depicted in the photograph are ten miners standing at a cliff face using a high pressure hose, in Beechworth, Victoria. The miners are located in the Three Mile Creek division, in the Beechworth Mining District established January 4th 1858 under An Act for Amending the Laws Relating to the Goldfields by the Governor-in-Council. The Ovens Gold Rush began at Beechworth in February 1852 and was followed by Yackandandah and the 'Indigo Goldfield'. The strategies applied to mining in Beechworth were distinct in comparison to other goldfields in Victoria such as Bendigo and Ballarat. The miners in Beechworth utlised 'hydraulic sluicing' to remove washdirt, the long water races and deep tailraces constructed through solid rock with an estimated 900 miles of water races cut through the Beechworth fields by 1880, demonstrating great engineering feats. The photograph taken is significant as it is a visual representation of the mining strategy, 'hydraulic sluicing' that was particularly unique to the Beechworth mines, particularly in Victoria and an engineering feat.Black and white rectangular photograph printed on matte photographic paper, unmounted print.beechworth mining district, mining, three mile creek division, three mile creek

The Pelican is commonly found throughout Australia, Papua New Guinea and Western Indonesia. The large throat pouch plays an important part in the diet of this species. The bill enables the Pelican to locate fish in murky water because of its sensitivity and it also has a hook at the end of the upper mandible which is used for gripping slippery foods. Pelicans work together large flocks to catch food by driving fish into one location by using their large bills and by beating their wings. A wild Pelican may live between ten to 25 years or more. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Pelican is a large specimen of white, black, orange and pink colouring. This specimen has the characteristic elongated bill with a large throat pouch. The bill and throat pouch are a combination of orange and light pink colouring. The neck is pale white which continue onto the specimen's back. The wings are tipped with black and the stomach has light brown colouring. The feet are large and webbed and are stood on a wooden platform. The eyes are made of glass and surrounded by pink coloured folds.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, pelican

This image taken between 1920-1930 depicts open-cut hydraulic sluicing at the Three Mile Mine, located about five kilometres south of Beechworth. Alluvial, or surface, mining began on this site in the 1850s, but was soon replaced by hydraulic sluicing methods. By the start of 1880 it is estimated that nine hundred miles of water races had been cut though soil and rock in the Beechworth district. Hydraulic sluicing employs high pressure jets of water to blast away large areas of earth and wash it down to be run through a sluice box. Gold gets caught in the sluice and the remaining slurry is washed away. Large water quantities were required for hydraulic sluicing, and the long water races and deep tailraces that were constructed were considered great engineering feats. This method of mining is extremely effective, but causes significant environmental damage and impacts to waterways and agricultural operations. Miners at Beechworth built extensive networks of races and dams to secure reliable supplies of water on a scale far greater than elsewhere in Victoria. By the 1880s Beechworth's water barons continued to hold more than half of all the water right licences on issue and undertook sluicing operations on a massive scale. The manipulation of surface and ground water via race networks was well planned and recorded in detail by local mining surveyors. The maps that were created, combined with modern geo-spatial technologies, provide a vital key in understanding the great lengths to which miners went to capture and control critical water resources. Today, Three Mile mine is called Baarmutha. The Three Mile Mine was unproductive until 1865 when John Pund and three other miners secured a fifteen year license and constructed a water race from Upper Nine Mile Creek to Three Mile Creek. In the early twentieth century Pund & Co. averaged over one thousand ounces of gold per year from the mine. After Pund's death in 1915, GSG Amalgamated Co operated the site, continuing sluicing until 1950. This image of hydraulic sluicing methods shows the extent of water-works engineering in the landscape. This photograph has historic and research potential for understanding changes to the landscape, the evolution of mining methods, and the extensive construction, manipulation and management of water networks in the Beechworth district. Black and white rectangular photograph on matte paperReverse: 7597-1 / Sluice Mining / Copied from original on loan from Webb (Qld) / Donated Nov 2009 / Baarmutha Three Mile Mine c1920-1950 / Managed by the Plain Bros then Parkinsons / Current Location is: Beechworth Animal Shelter / used for Baarmuthaburke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, hydraulic sluicing, spring creek, netwown falls, mining tunnels, water races, tailraces, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, indigo shire, john pund, water manipulation, water engineering, three mile creek, three mile mine, water race, large-scale mining methods, historical mining construction, alluvial mining, mining environmental impacts, baarmutha, water barons

This photo shows the large mining cavity with a hydraulic sluicing machine in operation at Baarmutha Three Mile Mine, Beechworth . The Beechworth Mining District was one of six mining districts established by the Governor-in-Council on 4 January 1858 under the provisions of An Act for Amending the Laws Relating to the Goldfields (21 Vic no.32). The District was further divided into seven divisions: Spring Creek, Snake Valley, Three Mile Creek, Buckland, Woolshed, Yackandandah and Omeo. The boundaries of each of these divisions and of the whole district are described in the Governor-in-Council's proclamation printed in the Government Gazette, 5 January 1858, pages 3-5. Hydraulic mining is a form of mining that uses high-pressure jets of water to dislodge rock material or move sediment. In the placer mining of gold or tin, the resulting water-sediment slurry is directed through sluice boxes to remove the gold. It is also used in mining kaolin and coal.This photograph shows the impact the gold rush era had on Australia and the earth.A black and white rectangular photograph printed on photographic paperCopied from original on loan film (WEBB QLD) / Donated 2009 NOV/ Baarmutha Three Mile Mine c1920-1950/ Managed by John Weir Peter Jereen Jack Cox / Owned by Plain Bros then Parkinsons Sluicing.mining, gold fields, beechworth, gold rush, burke museum, photograph, mining cavity, hydraulic mining, hydraulic sluicing, baarmutha

Diamond Doves reside in Oceania and Northern America. They are often seen gathering in small groups and foraging on the ground near a source of water. Diamond Doves are granivores. Their diet includes seeds of herbs and grasses. The sound made by the dove is a slow "coo" often repeated twice. These birds are renowned for their ability to find their way home over large distances which has resulted in the use of these birds as messengers throughout history. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Diamond Dove is a small pigeon with red rings around their eyes. It stands on a wooden perch with an identification tag tied around one leg. The upper part of the body is a brown grey and the belly of the dove is a cream colour. This bird has distinctive white spots on the wings. This particular specimen is a grey coloured Diamond Dove. Other colourings for this species are white, brown, yellow, red, cinnamon and pied.2b Little Turtle Dove. See Catalogue, page 30.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dove, little turtle dove, diamond dove

The Australasian Shoveler is a species of duck that can be commonly found in heavily vegetated swamps in southwestern and southeastern Australia, Tasmania and New Zealand. The species, Australasian Shoveler, is aptly named after their large shovel-shaped bill. These birds use these large bills which are equipped with fine hair-like components which strain the water and mud for food including tiny creatures including insects, crustaceans and seeds while it swims. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Australasian Shoveler is a species of low-floating duck with a dark head and brown plumage. The rear of this specimen is a dark brown, with mixed white and brown colouring on the upper torso. The underparts of this bird are brown and orange. The specimen has glass eyes made in an amber colour. The Shoveler is standing on a wooden platform which is labelled number 136. Amongst the feathers on the wings, this bird has a green coloured feather. The legs of the Shoveler would have once been a bright orange; however, the legs of this specimen have darkened in colour throughout the taxidermy process. This bird has a large bill shaped like a shovel from which the name "Shoveler" has been derived.5a. / Australian Shoveller / See Catalogue, page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, heron, duck, australaisian shovelor, shovelor

This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.25c. / Avocet / Catalogue, page, 36. / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.24c. / Avocat / Catalogue, page, 36. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

This metal ink jug or can, was used to dispense portions of ink to individual inkwells contained on the top of each pupil's desk. The jug is not unlike a small indoor watering can. The ink would be supplied to schools in large glass or stoneware bottles, and these would have been too unwieldy and difficult to use to pour ink into the small inkwells. Therefore it was decanted into the metal ink jugs and then poured into the inkwells. After a child was deemed old enough to progress from just using slate and board, he/she would have been supplied with a pen shaft made of wood and with a very basic metal nib. The ink jug would be used to fill up the individual inkwells. This operation would have been conducted by the teacher him/herself, or by an older pupil under the close eye of the teacher.Ink jug, metal, black, with long spout & metal handleNone.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ink, jug

This metal ink jug or can, was used to dispense portions of ink to individual inkwells contained on the top of each pupil's desk. The jug is not unlike a small indoor watering can. The ink would be supplied to schools in large glass or stoneware bottles, and these would have been too unwieldy and difficult to use to pour ink into the small inkwells. Therefore it was decanted into the metal ink jugs and then poured into the inkwells.After a child was deemed old enough to progress from just using slate and board, he/she would have been supplied with a pen shaft made of wood and with a very basic metal nib. The ink jug would be used to fill up the individual inkwells. This operation would have been conducted by the teacher him/herself, or by an older pupil under the close eye of the teacher.Ink jug metal black with long spout & metal handle.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ink, jug

The design of this set of four lightweight chairs is based on Thonet’s bentwood designs, which are still some of the best-selling designs for café and restaurant owners. It is elegant, sophisticated and durable. Some of these chairs still have their original seat, under which the letters “TH” or “RSL” are hand written. Flagstaff Hill has several bentwood chairs with these letters on them, in either chalk, black paint, or both. It is believed that the chairs were used in the original Warrnambool Town Hall, and later the RSL. The Town Hall was completed in 1891, built on the corners of Timor and Liebig Streets. (In 1977 the Town Hall was declared unsafe and was later replaced by the Warrnambool Performing Arts Centre.) Some of the chairs have marks, paper labels and symbols on them that show that the maker was Josef Jaworek, who had a small furniture factory in east Sinensia, which was at that time in Austria, from 1907 - 1914. Bentwood chairs are made by a process of wetting wood in water, bending it into curved shapes, then allowing it to dry so that the shape becomes permanent. This process originated by Michael Thonet, who had been given the right to bend wood into desired curves by the Austrian Courts in 1842. In 1856 he was granted a 13 year patent to manufacture chairs and table legs of bent wood treated by steam or boiling water. In 1859 his company Gebruder Thonet produced his original design. Thonet’s early designs also featured hand carved or laminated wooden seats. His Model No. 14 was produced in the 1850’s and his most popular design. After Michael’s death in 1871 the family went on designing and producing chairs. These bentwood chairs are believed to be associated with the original Warrnambool Town Hall. The Warrnambool Town Hall played a significant role in the both the local government and the social events of local and district areas. It was a place for Council meetings, community events and entertainment, theatrical and musical.Bentwood chair (4 of 4), painted black, inner back is curled loop, seat has leather cover attached with studs, ventilation holes under seat, legs are splayed and have a bracing ring. Marks: under seat, handwritten and stamped into wood.Marked with handwritten "TH", in both black paint & white chalk. Under rim is label printed "65" Stamped into wood on rim under chair "95".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bentwood chair, café chair, restaurant chair, josef jaworek, austrian chairs, furniture

This is a ship model of the SS Orotava, a British Screw Steamship built at Barrow-in-Furness, county of Lancashire, by the Naval Construction and Armaments Company (NC & A Co.) in 1889. Her gross tonnage was 5552.10 tons, length 430 feet, breadth 49.3 feet and depth 34.2 feet. She was built for Pacific Steam Navigation Company (of 31, James Street, Liverpool) and used as a passenger liner. She was launched 1889 and made 2 voyages for the Pacific Steam Navigation Company in 1889. Then under her new management of the Orient Line, she made her first sailing 6th June 1890 from Liverpool to Australia via Suez. During the Boer War (1889 – 1903) she served as a troop ship but apart from this she remained in the Orient Line’s Australia service until 1906. On 14th December 1896 the Orotava sunk at Trilbury Docks after being serviced on her return from Australia, becoming unstable and taking in water. Five men lost their lives. The ship was then raised to dry dock and repaired for service again and an investigation launched into the cause of the sinking. Between 1901 – 1906 the name ‘Orient-Pacific Steam Line’ was used due to the close ties between the Pacific and the Orient lines. In 1906 the Pacific Steam Line Australian service was taken over by the Royal Mail Steam Packet Co. and the alliance between them and the Orient Line was dissolved in 1909. Orotava was then used in the West Indies service of the Royal Mail Line In World War 1 (Dec 1914 – June 1916) she served as HMS OROTAVA, an armed merchant cruiser. She was broken up in 1919. Ship model of SS Orotava, 4 masts, 2 funnels, British passenger liner, launched in 1889.No case. Mounted on timber base. (some rigging broken, lifeboat now a separate piece)."OROTAVA" painted in white on each side of the bow. 'OROTAVA / LONDON" painted in white on the stern.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship model, ss orotava, naval construction and armaments co., n c & a co., pacific steam navigaiton company, passenger liner, orient line, orient-pacific steam line, royal mail line, hms orotava

Moulding Plane: 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. Auburn Tool Company: The Auburn Tool Company is known to exist from 1864 to 1893. George Casey reorganized the firm of Casey, Clark and Company as a joint-stock company in 1864, under the company name of Auburn Tool Company. The 1865 New York State Census noted the firm as a manufacturer of the plane, plane irons, and skates. The production that year was listed as 30,000 pairs of skates and 35,000 planes along with 25,000 dozen plane irons. The plane irons carried the trademark "Thistle". Both skates and plane irons were made from welded wrought iron and cast steel. The Auburn Tool Company was among the five leading plane manufacturing firms existing in the mid to late 19th century USA. Others were: H. Chapin's Son; Greenfield Tool Company; and Sandusky Tool Company. Auburn Tool Company, with these others, was also a founding member of the Plane Makers Association, organized around 1858 to fix prices. Most of the companies tools were manufactured by prisoners and in 1866 the firm was outbid for prison labour by J M Easterly and Co. After losing the contract with the prison authority they constructed a new building and continued in the plane manufacturing business with private labour. The 1870 US Census reported the firm had 21 machines, driven by water power, employing 66 males, producing annual products valued at us$70, 000. After A. Howland and Company was dissolved in 1874, the Auburn Tool Company again resumed using contract labour at the State Prison until 1877. The Auburn Tool Company merged with the Ohio Tool Company of Columbus, Ohio, on Nov 14, 1893. Although plane manufacturing was continued at Auburn until after 1907, after this merger the firm went under the name of the Ohio Tool Company. A significant item 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 was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. It also gives an insight into how many manufacturing companies bid for the rights to use prison labour to make their products at this time in our history. Decorative wood Moulding, plane Round type Auburn New York. Owner A Neudt Size 14 flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

A washboard is a tool designed for hand washing clothing that are soaked in hot soapy water in a wash tub or sink, then squeezed and rubbed against the ridged surface of the washboard to force the cleaning fluid through the cloth to carry away dirt. With the invent of mechanized cleaning of clothing becoming more common by with the use of washing machines by the end of the 20th century the washboard was soon discontinued. The traditional washboard is usually constructed with a rectangular wooden frame in which are mounted a series of ridges or corrugations for the clothing to be rubbed upon. For 19th-century washboards, the ridges were often of wood, sometimes glass and by the 20th century, ridges of metal became common The first "fluted" metal washboard was patented in the United States by Stephen Rust in 1833 and Zinc washboards were predominantly manufactured in the United States from the middle of the 19th century. A significant item for cleaning clothes still in use today in many countries giving a snapshot into the domestic life of a housewife into the 20th century.Washboard wooden frame with a ribbed glass sectionNonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, washboard, glass ripples, clothes cleaning, washing, laundry

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top. An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Iron; small flat domestic iron.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, iron, flat iron, domestic iron, laundery, ironing equipment, sad iron

The poster includes a cartoon by Arthur Jordan, with a conversation between an ailing man and a good man after baths visits. There are several reviews dating from 1906 to 1908 extolling the healing powers of the baths' waters. In February 1877 a Baths Company (1050 shares) was formed in the town of Warrnambool for the establishment of the baths at the south end of Gillies Street. The baths were filled with sea water from Lady Bay, originally pumped by a windmill situated near the current Surf Lifesaving Club and carried by iron pipes to the Public Baths; later the water was pumped by gas motor. Hot and cold fresh water baths were advertised. The gentlemen’s bath was 100 feet long and 50 feet wide, of graduating depth. A second bath, solely for ladies, was 60 feet long by 30 feet wide. Hot Sea-water Baths were also part of the institution, and were sought after for their ‘wonderful curative powers’, and ‘incomparable’ as a ‘tonic for the feeble’. In June 1881 the Hot Sea Baths were opened, and both hot and cold water baths were supplied at reasonable charges. Patrons came from near and far to receive the benefits. The manager of the Baths was J. Kirkpatrick. The Baths Company struggled for several years without success so in 1883 the baths were sold to the Borough Council for 1250 pounds. The original shareholders received nothing for their outlay; the overdraught was over the sale price. In May 1884 the Council announced that an estimated they has spent 1000 pounds in improving the baths since purchasing them and were now returning an income of 11 per cent. The poster promotes the healing powers of the hot sea water baths that were in use in Warrnambool in the late 19th century through to the early 20th century. The baths were a place for fitness, health and social activity, an example of the recreational activities during this period.Poster, black and white, mounted on card. It shows advertising Warrnambool Sea-water Baths and Hot Sea-water Baths. There are several references promoting the health benefits of baths, dating from 1906-1908. The cartoon was sketched by Arthur Jordan. The poster was printed by The Thompson Printing Co. Warrnambool. Handwritten inscription on the lower edge.Handwritten "10,000 mailed by post through Victoria"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, warrnambool salt baths, warrnambool therapudic baths, arthur jordan, baths company, sea water baths, hot sea water, swimming, healing powers, warrnambool baths, advertisement, thompson printing co. warrnambool

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

Terra cotta is the perfect medium to manufacture items for keeping foods and liquids cool. When water is added to the base, the terra cotta body absorbs it and the subsequent evaporation creates a cooling effect for the contents. It is particularly effective when used to keep milk, cheese, butter and bottles of wine cool.Terra cotta was one of the first ceramic materials to be used.Terra cotta cooler, with bell shaped lid that is open at the top, but with a rim for holding water. There are ventilation holes around the base of the lid. The top stands inside the base. When water is added to the rim at the top, the terra cotta body absorbs it and creates a cooling effect for the contents. Probably used to keep butter or cheese cool. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, terra cotta, ceramics, coolers, dairy products

Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes. The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface. The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water. https://en.wikipedia.org/wiki/CeramicThe discovery and development of ceramics in numerous shapes, form and materials, revolutionised the world.White ceramic container, glazed with single groove around circumference near lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics

Before factory production became commonplace in medicine, dispensing was considered an art and pill and suppository machines such as these were a vital component of any chemist’s collection. This mould dates back to the days when the local chemist or apothecary bought, sold, and manufactured all his own drugs and medicines to everybody who lived within the local community. In Victorian times, there was no such thing as off-the-shelf medicine. Every tablet, pill, suppository, ointment, potion, lotion, tincture and syrup to treat anything from a sore throat to fever, headaches or constipation, was made laboriously by hand, by the chemist. Some medicines are formulated to be used in the body cavities: the suppository (for the rectum), the pessary (for the vagina) and the bougie (for the urethra or nose). History Suppositories, pessaries and bougies have been prescribed for the last 2000 years but their popularity as a medicinal form increased from around 1840 - suppositories for constipation, haemorrhoids and later as an alternative method of drug administration, pessaries for vaginal infections and bougies for infections of the urethra, prostate, bladder or nose. Manufacture The basic method of manufacture was the same for each preparation, the shape differed. Suppositories were "bullet" or "torpedo" shaped, pessaries "bullet" shaped but larger and bougieslong and thin, tapering slightly. A base was required that would melt at body temperature. Various oils and fats have been utilised but, until the advent of modern manufactured waxes, the substances of choice were theobroma oil (cocoa butter) and a glycerin-gelatin mixture. The base was heated in a spouted pan over a water-bath until just melted. The medicament was rubbed into a little of the base (usually on a tile using a spatula) and then stirred into the rest. The melted mass was then poured into the relevant mould. Moulds were normally in two parts, made from stainless steel or brass (silver or electroplated to give a smooth surface). To facilitate removal the moulds were treated with a lubricant such as oil or soap solution. To overcome the difficulty of pouring into the long, thin bougie mould, it was usual to make a larger quantity of base, to partially unscrew the mould, fill with base and then screw the two halves of the mould together thus forcing out the excess. When cool, any excess base was scraped from the top of the mould, the mould opened and the preparations removed, packed and labelled with the doctor's instructions. https://www.rpharms.com/Portals/0/MuseumLearningResources/05%20Suppositories%20Pessaries%20and%20Bougies.pdf?ver=2020-02-06-154131-397The collection of medical instruments and other equipment in the Port Medical Office is culturally significant, being an historical example of medicine from late 19th to mid-20th century.Proctological mould for making suppositories.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suppositories, medicine, health

Before factory production became commonplace in medicine, dispensing was considered an art and pill and suppository machines such as these were a vital component of any chemist’s collection. This mould dates back to the days when the local chemist or apothecary bought, sold, and manufactured all his own drugs and medicines to everybody who lived within the local community. In Victorian times, there was no such thing as off-the-shelf medicine. Every tablet, pill, suppository, ointment, potion, lotion, tincture and syrup to treat anything from a sore throat to fever, headaches or constipation, was made laboriously by hand, by the chemist. Some medicines are formulated to be used in the body cavities: the suppository (for the rectum), the pessary (for the vagina) and the bougie (for the urethra or nose). History Suppositories, pessaries and bougies have been prescribed for the last 2000 years but their popularity as a medicinal form increased from around 1840 - suppositories for constipation, haemorrhoids and later as an alternative method of drug administration, pessaries for vaginal infections and bougies for infections of the urethra, prostate, bladder or nose. Manufacture The basic method of manufacture was the same for each preparation, the shape differed. Suppositories were "bullet" or "torpedo" shaped, pessaries "bullet" shaped but larger and bougieslong and thin, tapering slightly. A base was required that would melt at body temperature. Various oils and fats have been utilised but, until the advent of modern manufactured waxes, the substances of choice were theobroma oil (cocoa butter) and a glycerin-gelatin mixture. The base was heated in a spouted pan over a water-bath until just melted. The medicament was rubbed into a little of the base (usually on a tile using a spatula) and then stirred into the rest. The melted mass was then poured into the relevant mould. Moulds were normally in two parts, made from stainless steel or brass (silver or electroplated to give a smooth surface). To facilitate removal the moulds were treated with a lubricant such as oil or soap solution. To overcome the difficulty of pouring into the long, thin bougie mould, it was usual to make a larger quantity of base, to partially unscrew the mould, fill with base and then screw the two halves of the mould together thus forcing out the excess. When cool, any excess base was scraped from the top of the mould, the mould opened and the preparations removed, packed and labelled with the doctor's instructions. https://www.rpharms.com/Portals/0/MuseumLearningResources/05%20Suppositories%20Pessaries%20and%20Bougies.pdf?ver=2020-02-06-154131-397The collection of medical instruments and other equipment in the Port Medical Office is culturally significant, being an historical example of medicine from late 19th to mid-20th century.Proctological mould for making suppositories.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suppositories, medicine, health

This hand held, wooden bottle corker would have been used by soft drink or wine producers to insert corks into their bottles to seal the drink inside. It seems it may have had a metal tip on the end of the plunger, as do other similar bottle corkers, because this plunger has a compressed end and a ring shape impressed into the wood a little way up from the tip. How to use the bottle corker … - soak a long, bullet shaped cork in water to soften it - place the bottle corker over the bottle’s neck - insert the cork through the side opening and place onto the metal funnel - push the plunger down onto the cork, forcing it into the tapered, which will squeeze the cork to size as it enters the bottle. Use a mallet or hammer if necessary The design of this bottle corker is very similar to “"Redlich's Apparatus for Corking Bottles", which was invented and patented by Henry Redlich of Chicago, USA, in 1862, US patent #35,325. H. Redlich’s gave the following instructions for the use of the bottle corker: “DIRECTIONS: SOAK THE CORK, DROP INTO THE OPENING AND TAP THE PLUNGER WITH A MALLET OR HAMMER.” This hand held, wooden bottle corker would have been used by soft drink or wine producers to insert corks into their bottles to seal the drink inside. It seems it may have had a metal tip on the end of the plunger, as do other similar bottle corkers, because this plunger has a compressed end and a ring shape impressed into the wood a little way up from the tip. How to use the bottle corker … - soak a long, bullet shaped cork in water to soften it - place the bottle corker over the bottle’s neck - insert the cork through the side opening and place onto the metal funnel - push the plunger down onto the cork, forcing it into the tapered, which will squeeze the cork to size as it enters the bottle. Use a mallet or hammer if necessary The design of this bottle corker is very similar to “"Redlich's Apparatus for Corking Bottles", which was invented and patented by Henry Redlich of Chicago, USA, in 1862, US patent #35,325. H. Redlich’s gave the following instructions for the use of the bottle corker: “DIRECTIONS: SOAK THE CORK, DROP INTO THE OPENING AND TAP THE PLUNGER WITH A MALLET OR HAMMER.” Bottle corker, a hand operated wooden corking device for sealing bottles. Bottle corker has two parts comprising a wooden plunger rod with knob handle, and wooden cylinder containing a metal tube that is flared to a funnel shape on the top. The cylinder has a hole the diameter of the rod at both ends and an oval insertion slot in one side. The tip of the plunger rod is slightly compressed and it has an indented line around the circumference as though it has had something attached to it. Manufactured in the late 1899s to early 1900s in Melbourne.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cork

The nautical compass is used for determining directions, using a free moving magnetised needle, indicating north and south. This is a medium sized compass and was suitable for mounting in a fixed brass binnacle or a portable wooden box. The compass fluid was typically lamp oil, or a mixture of alcohol and water. This compass, based on its pattern, was probably manufactured around the 1930s. The compass’s maker, Bergen Nautik, was a 20th Century compass manufacturer, making compasses from the 1900s but no longer in business.The factory was located in Hordaland County, Bergen, on the west coast of Norway. This compass is not a very significant marine item as it was made in the 20th century. Examples of the same compass that have been salvaged can be purchased today mounted either in a wooden box or a brass pedestal.Compass; marine or ship's compass, brass, gimbal mounting, in blue metal casing. Manufacturer’s inscription is on the face. Made by Bergen Nautik of Bergen in Norway. Circa 1930s."BERGEN . NAUTIK", "BERGEN", "NORWAY" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, compass, nautical compass, marine compass, maritime compass, technical instrument, navigation instrument, bergen nautik, 20th-century marine compass, gimbal compass, ship's compass, bergan nautik, norway, 1930s marine compass

This Chart titled “Lady Bay and Warrnambool Harbour” was surveyed by Nav. Lieut. H.J. Stanley, of Britain's Royal Navy, in 1870 and printed in April 1871. The chart was made before the Warrnambool Breakwater was built (construction had begun in 1874 and was completed in 1890). The chart includes Directions for entering Lady Bay, Warrnambool Harbour. These are "Vessels entering Warrnambool Harbour must bring the Red Light in sight and steer in with it in line with the upper white Light bearing North, until the Green Light on the Jetty is opened, when steer towards it and anchor. The best anchorage is in 2 ¼ fms [fathoms)] of water, about a cable from ledge off Breakwater rock. Or where convenient, according to draught of water, only endeavouring to anchor as close as possible to Breakwater rock. It is not safe to enter or leave the Harbour in south westerly or Southerly gales.” This chart is significant for its strong connection to the maritime history of Warrnambool Harbour and Lady Bay, and eventually to the Warrnambool Breakwater. The Warrnambool Breakwater is registered as a place of significance on the Victorian Heritage Database (VHR H2024). A copy of the same chart was used to plan several submissions for future changes to the jetty and breakwater. The chart is a historical record of structures existing in 1870; the Warrnambool Jetties, Lady Bay, the leading lights (lighthouses), streets, roads, bridges and many buildings. It also shows the lay of the land and seabed.Canvas chart of Australia, South Coast, Victoria Title: Lady Bay and Warrnambool Harbour Surveyed by Nav. Lieut. H.J. Stanley, R.N., 1870. Magnet Variation, 1870 Published April 3, 1871, by the Admiralty, London. Directions for vessels entering Warrnambool Harbour are printed on the chart. The chart has a lacquer or seal over it.Top of chart has logo "HYDROGRAPHER OFFICE" "Price Eighteen Pence". "Engraved by Edward Weller" Along bottom of Chart: “London… Published at the Admiralty, 3rd April 1871, under the Superintendence of Rear Admiral G.H. Richards, F.R.S. Hydrographer, Corrections July 71” Bottom of chart “Australia South Coast Victoria Lady Bay and Warrnambool Harbour. 2494”flagstaff hill, warrnambool, chart of lady bay warrnambool 1870, warrnambool harbour, cartography, navigation, warrnambool breakwater, 1871, australia – south coast / victoria, lady bay, 1870, nav. lieut. h.j. stanley, r.n, directions for entering warrnambool harbour, hydrographer office, rear admiral g.h. richards, edward weller, port of warrnambool, flagstaff hill maritime museum & village, maritime museum, maritime village, shipwreck coast, map, chart, navigation chart, admiralty chart, breakwater, jetty, pier, vhr h2024

E550 N9 Part of a 51-photo record of the development of the "Kubis" Estate, Ringwood North, including road works to Debbie Place, Kubis Drive, Werac Drive, Manuelo Drive, Iluka Place and Glenvale Road. From the Jack Lundy Clarke collection.

The design of this set of four lightweight chairs is based on Thonet’s bentwood designs, which are still some of the best-selling designs for café and restaurant owners. It is elegant, sophisticated and durable. Some of these chairs still have their original seat, under which the letters “TH” or “RSL” are hand written. Flagstaff Hill has several bentwood chairs with these letters on them, in either chalk, black paint, or both. It is believed that the chairs were used in the original Warrnambool Town Hall, and later the RSL. The Town Hall was completed in 1891, built on the corners of Timor and Liebig Streets. (In 1977 the Town Hall was declared unsafe and was later replaced by the Warrnambool Performing Arts Centre.) Some of the chairs have marks, paper labels and symbols on them that show that the maker was Josef Jaworek, who had a small furniture factory in east Sinensia, which was at that time in Austria, from 1907 - 1914. Bentwood chairs are made by a process of wetting wood in water, bending it into curved shapes, then allowing it to dry so that the shape becomes permanent. This process originated by Michael Thonet, who had been given the right to bend wood into desired curves by the Austrian Courts in 1842. In 1856 he was granted a 13 year patent to manufacture chairs and table legs of bent wood treated by steam or boiling water. In 1859 his company Gebruder Thonet produced his original design. Thonet’s early designs also featured hand carved or laminated wooden seats. His Model No. 14 was produced in the 1850’s and his most popular design. After Michael’s death in 1871 the family went on designing and producing chairs. These bentwood chairs are believed to be associated with the original Warrnambool Town Hall. The Warrnambool Town Hall played a significant role in the both the local government and the social events of local and district areas. It was a place for Council meetings, community events and entertainment, theatrical and musical.Bentwood chair (1 of 4), painted black, inner back is curled loop. Seat is padded leather, attached by studs. Splayed legs. Patterned ventilation holes under seat. Under seat are various Marks; hand painted, printed on small piece of paper, stamped in wood.Under seat are various Marks; hand painted in black "TH", printed on small piece of paper "400", stamped in wood "400" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bentwood chair, café chair, restaurant chair, josef jaworek, austrian chairs

This medicine bottle was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Medicine bottle, from the W.R. Angus Collection. Brown glass, cork stopper, round, tiny amount of liquid contents. Label reads "Potassium Iodide, Iodide, water" "Potassium Iodide, Iodide, water" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, medicine bottle, medication, pharmaceutical

This lead ingot was donated to Flagstaff Hill Maritime Village in January 2015 by local residents who discovered the ingot in their garden after they purchased the property about 12 months ago The LOCH ARD cargo manifest lists “Pig lead 50 tons” comprising “944 pig and 37 rolls”. Subsequent classification has rendered this section of cargo as “Lead Ballast”. This could be true. The international price per ton of lead ore plunged from a high point of £17 in 1853 to a low of £8 in 1882. The cheaper price of lead at the time of the vessel’s loading in early 1878 may have meant it was considered as an alternative to other ballast material (traditionally stone) for the journey to Melbourne. Loch Line ships generally returned to Britain laden with Australian wool. Even though wool bales were “screwed in” to the hold to less than half their “pressed weight”, they still made an awkwardly light cargo for the passage around the Horn. The concentrated weight of lead pigs along the keel line would help steady and centre the ship, and perhaps the artefacts in this case were to be retained for this purpose, rather than being sold on to the ready colonial market. However this is conjecture. Demand for building materials in the gold and wool rich Colony of Victoria was high in the 1870s, and much of the LOCH ARD cargo was intended for the Melbourne International Exhibition in 1880, which was another example of buoyant economic conditions. In the nineteenth century lead was valued for its density (high ratio of weight to volume), flexibility (relative softness for working into shape), and durability (corrosion resistant and waterproofing properties). It was used for pipes and water tanks, roof flashing and guttering, window sealing and internal plumbing. Many large private residences and new public buildings were at planning or construction stage in the colony during this period. The LOCH ARD lead ingots could equally have been destined for this ready market. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Lead ingots (sometimes referred to as ‘lead ballast’ or ‘lead pigs), salvaged from the wreck of the LOCH ARD. Grey metal bars with flat base, rising in a curved moulded shape to form a smooth rounded upper face. The imprint of the maker runs along the upper surface in clearly legible capital lettering (height 3cm). Durable and heavy, with some marine staining, but in good condition. Stamped along curved surface, within oval border, "PONTIFEX & WOOD LONDON."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, lead pigs, lead ingots, lead ballast, pontifex and wood, london, lead smelters