This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register most valuable. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 80% of surface are is covered by sediment. Bowl is split and broken. Some verdigris on exposed portion of base metal. No makers marks are visible. 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, electroplated cutlery, loch ard shipwreck, nickel silver, william page and co, birmingham brass plating, makers marks

This upper portion of a brass plated spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This spoon handle is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register most valuable. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Spoon handle and bent part of stem. Some encrustation and Silver Oxide. Recovered from the Loch Ard wreck.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, electroplated cutlery, handle, spoon, loch ard shipwreck

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone in two pieces. Advanced stage of calcification as indicated by deep pitting. Off white to grey.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone piece. Advanced stage of calcification as indicated by deep pitting. Off white to grey.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whales, whale bone, corsets, toys, whips

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070. Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone vertebrae. Advanced stage of calcification as indicated by deep pitting. Off white to grey.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whales, whale bone, corsets, toys, whips

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone piece. Advanced stage of calcification as indicated by deep pitting. Off white to grey.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whales, whale bone, corsets, toys, whips

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone piece. Advanced stage of calcification as indicated by deep pitting. Off white to grey.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whales, whale bone, corsets, toys, whips

John Robson was born at Newcastle, Northumberland, England, the son of Mathew Robson and Hannah Sproat. Hesailed to Australia on the "Arabian", landing at Port Phillip in 1854. Obituary DEATH OF MR. JOHN ROBSON ANOTHER PIONEER GONE. AN EXTREMELY VERSATILE MAN. General regret was expressed at the death yesterday morning at Miss Garnett's private hospital, of Mr John Robson, musician and and elocutonist and one of Ballarat's oldest, best known and most respected citizens. Mr Robson had been sitting for a few weeks, and his medical adviser, diagnosed his complaint as appendicitis, which afflicted, him in such a severe form that an operation was deemed to be absolutely necessary. He was removed to Miss Garnett's private hospital, and about a week ago he was operated upon. Mr Robson, being a man of robust constitution, stood the shock of the operation well, and he was making good headway towards recovery when the spell of hot weather set in, and caused exhaustion. Heart failure followed, and exhaustion the attention of his medical adviser, and the careful nursing he received, the end came peacefully at the time stated above. Mr John Robson was born at Newcastle, Northumberland, England, in , and he was therefore 72 years of age. Mr Robson's father, who was a contractor, had much to do with the building of the City of Newcastle. After passing through minor schools, Mr John Robson entered the academy of Professor Ross, and soon rose to a foremost position in the classes. When his studies were completed he was apprenticed to an architect and for a time studied the technique of this important branch of his father's calling. His adaptability for the work was great, and hopes were entertained that he would rise to a high position in the profession. Then came glowing reports of the wonderful Australian gold discoveries. Mr Robson’s father decided to migrate to these parts, and he sent a son to prepare the way. Believing that tools and timber might not be procured in Australia. Mr Robson, senr, constructed a portable wooden residence, which was shipped in pieces on the White Star liner Arabian which brought the family over. In 1854 Mr John Robson, who was then nearly 17 years of age, landed at Port Phillip, and with the other members of the family came on to Ballarat, which place he made his home to the end. When he first reached Ballarat, Mr Robson joined in the search for gold, but not being strong enough for this rough work, he turned his attention to carpentering. This he did not care much about, and in 1858 he was appointed a teacher in St. Paul's Day School, Ballarat, but in the following year he relinquished this position and became exchange clerk in the local branch of the National Bank. Being adapted to this quickly made himself acquainted with the details of a banker’s profession, and his rise was rapid. In the year 1871, about 12 years after he joined the bank, he was appointed manager, and for four years occupied that position with conspicuous success. He was connected with the National Bank for eighteen years, and in 1875 he entered business on his own account. With his brother, Mr Wm. Robson, he erected red-gum sawmills at Gunbower, on the River Murray. Subsequently he was offered the management of the Australian and European Bank in mills. In 1886, he accepted the position and held it until the bank was absorbed by the Commercial Bank of Australia. For a time he lived privately, still, how ever, holding his interest in the saw mills. In 1886, he accepted, the position of manager of the Ballarat branch of the Mercantile Bank of Australia. This bank was closed in 1892, and Mr Robson retired, altogether from commercial circles. In the meantime his brother died, and the saw-mills were sold. Mr Robson held a very important position in music, in fact he for many years was looked upon as the leading musician in Ballarat, he being master of quite a variety of instruments. In 1864. he was appointed conductor of the old Harmonic Society in this city, and subsequently conductor of the Ballarat Liedertafel. Under his leadership this society attained a high state of efficiency, which has since been well-maintained. Many years ago Mr Robson formed an operatic company from amongst Ballarat residents, and such beautiful operas as “Lucrezia Borgia' "Lucia di Lammermoor," “Ernani,' La Sonnambula,” and others were successfully rendered. As an elocutionist, Mr Robson attained much prominence, he being recognised as one of the most capable teachers in Ballarat. He was president of the one-time Ballarat Shakespearian Dramatic Club, which under his direction, from time to time produced Shakespeare’s masterpieces. In this, too, he took the chief characters, the roles of Macbeth, Othello, Hamlet, and Shylock, all being powerfully represented by him. For some years prior to his demise Mr Robson, acted as a teacher of music, and elocution, and many of his pupils, competed with great success at the Ballarat and other competitions. Some years ago he acted as adjudicator at the South street competitions, when he gave every satisfaction, and his services were frequently secured to judge at competitions in other parts of the State and in other states of the Commonwealth. At the Ballarat band contests every year, he was a conspicuous figure, and he always acted as leader of the massed bands, by whom his appearance was always enthusiastically greeted. In his younger days he took a keen interest in several forms of sport, was a successful oarsman, one of the best amateur boxers of his weight and as a billiard player was able to hold his own with professionals. 'Mr Robson was an earnest adherent of the Church of England, and in social and other organisations he from time to time held important positions. As a Anglican churchman, he was widely respected, being the official principal and lay Canon of the Cathedral, a member of the Bishops Council, and a prominent member of St. Paul's Church, Ballarat East. He was also a prominent member of the Masonic order. and was a Past Grand Junior Warden of the Grand Lodge of Freemasons of Victoria, an office which he filled with the greatest credit. He was also a member of the Old Colonists' Association and the Mechanics' Institute, was at one time vice-president of the Art Gallery was once a member of the School of Mines Council, and was many years ago made a Justice of the Pence. On many occasions he was asked to stand for Parliament, as a representative of Ballarat and on one occasion he consented to do so, but subsequently retired without going to the poll in favor of the late Mr Daniel Brophy. He was also often pressed to stand for both the Ballarat East and City Councils, but he declined to allow himself to be nominated. Mr Robson was an active gentleman, and a brilliant conversationalist. His courtesy, high mental and moral endowments, and warm open-heartedness, made him a most interesting and congenial companion. During his long residence in Ballarat, which city he declined to sever his connected with, he was well known and much courted, and was looked up on as one of the most prominent citizens, and his loss will be very severely felt. Some years ago a portrait of Mr Robson, in full Masonic regalia, was painted by he late Mr Stanton Bowman, and was presented by Mr Robson to the citizens, and it was hung in the City Hall, where it is always admired by visitors. The late Mr John Robson never married, and with his brother, James, lived for many years in Eureka street, Ballarat. The two brothers were nearly always together, and as they walked the streets with arms linked, they were frequently referred to as the Siamese twins. The only Australian relative of the late Mr John Robson is his brother. Mr James Robson, who hardly left the bedside during John's illness, and to him the blow has been a very severe one. In his bereavement he will have the heartfelt sympathy not only of the whole of the residents of Ballarat, but of people in all parts of the State. When the news of Mr Robson’s death became known the flags were flown at half-mast at the City and Town Halls, and the Old Colonists’ Hall, out of respect to the memory of the deceased. The interment will take place at the Old Cemetery this afternoon. The cortege will leave “Rothbury," Eureka street, Mr Robson’s late residence, at 3 o'clock, for St. Paul’s Church, where there will be a short service conducted by the vicar, the Rev T. A. Colebrook. (Ballarat Star, January 1910)Photographic portrait of John Robson, member of the Old Colonists' Association of Ballarat.john robson, old colonists' association of ballarat, old colonists' club

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone was an important commodity, used in corsets, collar stays, buggy whips, and toys.Whale bone vertebrae. Advanced stage of calcification as indicated by deep pitting. Off white to grey.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whales, whale bone, corsets, toys, whips, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Whalebone The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The bone of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as whalebone. Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale bone Vertebrae with advanced stage of calcification as indicated by deep pitting. Off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale jaw bone one side, long & curved with advanced stage of calcification off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale rib bone with advanced stage of calcification as indicated by brittleness. None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Easter in Bendigo, Official Program1983. Premier Town Victoria 1982-85. Easter In Bendigo '83 Welcome to the 1983 Easter Fair. This is a special time for Bendigo. . . The Fair has a long history bating back to 1871. . . Bendigo Base Hospital, Home and Hospital for the Aged or Benevolent Asylum. . . Back in the 1800s. Gone are the days of the ladies' Fancy Bazaar, Fat Baby Contest, Greasy Pig Chase. . . Many old traditions remain. . . Bendigo's links with the Chinese community go back to the dates when the first settlers arrived seeking gold. The Chinese took a very active part in the fist Fair. . . Monday Procession has always been the most famous as many old photographs show. Some of these photos date back before the turn of the century. In those days many people made the journey to Bendigo by train from Melbourne or by horse and buggy from outlying districts.. . ''Sun Loong'', or ''New Dragon''. . . Horse and Harness Parade a great success each tear attracted an immense variety of horses and horse drawn vehicles. . . Torchlight Procession on Sunday Sports Carnival Fireworks. . . Easter Monday requires precise planning and discipline if it is to run smoothly. A volunteer committee meets through the year to see that this happens. The Popular Girl Contest was introduced in 1930, the four main Streets of Bendigo, Pall Mall, Mitchell Street, Hargreaves Street and Williamson Street (formerly View Street), sponsored a popular girl by means of fund raising events. Winner was announced from the Shamrock Hotel balcony Easter Saturday night by the Mayor of Bendigo. The contest is still being held. . . The Shamrock Hotel now fully restored and reopened. . . Sunday night special ceremony, in time for the winning Popular Girl to take pride of place in the Procession. . . The accent is on the cycling. The Easter sports Carnival dates back to the beginning of the Fair in 1871, seven years before the start of the famous Stawell Gift. Sid. Paterson, Hubert Opperman. . . Golden Mile Wheelrace, the final on Monday night. AFT Amateur Madison, woodchopping, boomerang throwing and gala fireworks Sunday and Monday. This year for the first time the Golden Mile goes Pro/Am, an Open event for the first time. This could see the first clash between Danny Clark and Kenrick Tucker. Hopefully Michael Grenda, Tony Hughes, Michael Turtur will also be starters against leading professionals, Terry Hammond, Murray Hall and Ross Forster. The Golden Mile has been conducted every year since 1956 when it was won by John McDonough. Ron Grenda (Tas) won in 1959, Barry Waddell was the first scratchman to win in 1962 and Frank McCaig (Bendigo) has won the event three times in 1963/5/7. The event carries total prize money of $3000 making it (with Wangaratta Wheelrace) the richest Wheelrace in Provincial Victoria. . . Newly completed Hargreaves Mall being a focus for all this activity. . . Rotary Art Show and Easter Fair Society amalgamated their art shows resulting in a combined exhibition of outstanding quality, since then the Rotary Club has added the Antique Fair. The Handcraft Bazaars, a more sophisticated version of the bazaars of old, offers. . . The Bathtub Derby at Lake Weeroona, Music Festival at Queen Elizabeth Oval. . . Easter Fair of 1871 was almost washed out. . . Necessary top abandon the ''Golden Mile'' Wheelrace on two occasions 1960 & 1979. . . 1983 Official Programme, Good Friday April 1, Saturday April 2, Sunday April 3, Monday April 4, Tuesday April 5. . . Holy Week Ecumenical Services: . . The Chinese And The Bendigo Easter Fair, 3 pages on the history of the chinese involvment in the Bendigo Easter Fair. . . A Little Of Dragons: brief history on chinese and dragons. Sun Loong, Yar Loong. The Birth Of A Dragon: In China a story of the birth of a Dragon. . . Such Trial was set a group of Bendigo Businessmen led by Mr A Guy and comprising MR C Michelsen, Mr L Chon, Mr J Granter, Mr J Henderson, Mr B Andres. In 1969 they formed the ''Loong 100 Committee''. The purpose of the committee was to purchase a dragon to replace the ageing Loong, from donations raised. But who could build a worthy successor to the Great Loong? In Hong Kong a 47 year old dragon builder whose traditions and craft came from the famous dragon building city of Fat Shan on the Pearl River, near Canton where Loong was born. Mr Law On created the famous Sun Loong in his tiny 4x4 metre workshop in Hong Kong. . . 1970 Sun Loong was blessed and brought to life by 101 year old Mr James Lew, dotting his eyes with chicken blood. . . To Awaken A Dragon Dragons tend to sleep a lot and are quiet deaf. . . The Dragon is blessed and fed with pomolo leaves then the process of wakening begins with drums. . . 5000 crackers. The Easter Monday Chinese Procession have a long and varied history in China. The Bendigo Procession is no exception to this. In recent years much research has gone into . . The Procession may be divided into six sections. . . Dragon built in 1969 First Displayed in 1970, length-300ft plus, Extra 100ft added in 1980, number carrying: Head 1 plus 5 releifs, Neck 3, Body 52 plus 52 reliefs, head weight 63 lbs. tail weight 36 lbs.. Scales 4,500 approx. Mirrors 90,000 fins 50, beads 30,000 approx. . . Conclusion. . . Advertisements: Bendigo Pottery, Square Deal Cars, Bob Bell of Borough Bricklaying Pty Ltd, Pinups Wine Bar, Cumberland Hotel, Manchester Arms Hotel, British & American Hotel, Langley Hall BYO Restaurant, White Horse Hotel, Ascot Lodge Caravan Park, The Lemonade Factory, The Pepper Pot, M & M J Meade Mobil, Lakeview Motor Inn Restaurant, Truffles Restaurant, Marong Hotel, 4 Penny Dark BYO Restaurant, Chaplin's Coffee Shoppe, Copper Pot Restaurant, Skins of Australia, Central Deborah Gold Mine, Chris Wall Auto Sales, Brian Boru Hotel, The Green Carnation, Sandhurst Town, Dragon Court BYO Chinese Restaurant, Australian Fixed Trust Investors Services Ltd., The Mohair Farm, Bendigo Model Railroaders, Mexican Kitchen Restaurant, BP Super Shops, Coke, Southern Cross TV8.event, easter fair, bendigo easter fair society, easter in bendigo, official program1983. premier town victoria 1982-85. easter bendigo '83 welcome to the 1983 easter fair. this is a special time for bendigo. . . the fair has a long history bating back to 1871. . . bendigo base hospital, home and hospital for the aged or benevolent asylum. . . back in the 1800s ladies' fancy bazaar, fat baby contest, greasy pig chase. . . many old traditions. . . bendigo's links with chinese the first settlers arrived seeking gold. the chinese took a very active part in the fist fair. . . monday procession the most famous as many photographs show, the turn of the century. many people journey to bendigo from melbourne & from outlying districts.. . ''sun loong'', or ''new dragon''. . . horse and harness parade an immense variety of horses, horse drawn vehicles. . . torchlight procession on sunday sports carnival fireworks. . . easter monday precise planning and discipline to run smoothly. a volunteer committee meets through the year. the popular girl contest introduced in 1930, sponsored a popular girl by means of fund raising events. winner announced from shamrock hotel balcony easter saturday night by the mayor. . . the shamrock hotel now reopened. . . sunday night special ceremony, in time for the winning popular girl to take pride in the procession. . . accent is on the cycling. the easter sports carnival dates back to fair in 1871, seven years before stawell gift. sid. paterson, hubert opperman. . . golden mile wheelrace, final on monday night. aft amateur madison, woodchopping, boomerang throwing, gala fireworks sunday& monday. for the first time golden mile goes pro/am. danny clark and kenrick tucker. michael grenda, tony hughes, michael turtur will also be starters against leading professionals, terry hammond, murray hall and ross forster. the golden mile has been conducted every year since 1956, won john mcdonough. ron grenda (tas) won 1959, barry waddell the first scratchman to win 1962, frank mccaig (bendigo) has won 1963/5/7. prize money of $3000 making it (with wangaratta wheelrace) the richest wheelrace in provincial victoria. . . newly completed hargreaves mall. . . rotary art show and easter fair society amalgamated art shows, antique fair. handcraft bazaars, . . the bathtub derby lake weeroona, music festival queen elizabeth oval. . . easter fair of 1871 was almost washed out. . . necessary top abandon the ''golden mile'' wheelrace on two occasions 1960 & 1979. . . 1983 official programme, good friday april 1, saturday april 2, sunday april 3, monday april 4, tuesday april 5. . . holy week ecumenical services: . . chinese and the bendigo easter fair, . dragons: brief history. sun loong, yar loong. in china a story of the birth of a dragon. . . bendigo businessmen mr a guy, mr c michelsen, mr l chon, mr j granter, mr j henderson, mr b andres. 1969 formed ''loong 100 committee'' purchase a dragon to replace ageing loong, donations raised. build successor great loong? hong kong dragon builder traditions craft came from dragon building city fat shan on the pearl river, canton where loong was born. mr law on created the famous sun loong in his tiny 4x4 metre workshop in hong kong. . . 1970 sun loong was blessed and brought to life by 101 year old mr james lew, dotting his eyes with chicken blood. . . to awaken a dragon dragons tend to sleep a lot and are quiet deaf. . .dragon is blessed fed with pomolo leaves wakening begins with drums. . . 5000 crackers. the easter monday chinese procession have a long and varied history in china. the bendigo procession is no exception to this. in recent years much research has gone into… procession may be divided into six sections. dragon 1969 first displayed in 1970, length-300ft plus, extra 100ft added in 1980, number carrying: head 1 plus 5 releifs, neck 3, body 52 plus 52 reliefs, head weight 63 lbs. tail 36 lbs.. scales 4, 500 approx. mirrors 90, 000 fins 50, beads 30, 000 approx. advertisements: bendigo pottery, square deal cars, bob bell of borough bricklaying pty ltd, pinups wine bar, cumberland hotel, manchester arms hotel, british & american hotel, langley hall byo restaurant, white horse hotel, ascot lodge caravan park, the lemonade factory, the pepper pot, m & m j meade mobil, lakeview motor inn restaurant, truffles restaurant, marong hotel, 4 penny dark byo restaurant, chaplin's coffee shoppe, copper pot restaurant, skins of australia, central deborah gold mine, chris wall auto sales, brian boru hotel, the green carnation, sandhurst town, dragon court byo chinese restaurant, australian fixed trust investors services ltd., mohair farm, bendigo model railroaders, mexican kitchen restaurant, bp super shops, coke, southern cross tv8.

Handwritten note from Tim Gibson, a descendant of the original Cawardine family, has donated the items in the Carwardine Collection (Cat No. 3401). CARWARDINE, Walter Henry Walter Henry Carwardine Groom: Walter Henry CARWARDINE. Bride: Elizabeth Arnold THORPE. Year married: 1863. Place: Victoria, Australia. Walter died 1923 in Caulfield, Victoria. Age: 89 years. Parents named as John CARWARDINE and Charlotte WILCOX. Buried: Bendigo Cemetery, Victoria. Area: Mon G1. Grave number: 21110. Service date: 03 June 1923. Elizabeth Arnold Carwardine (Thorpe) Died 1911 in Bendigo, Victoria. Age: 70 years. Parents named as Joseph THORPE and Jane ARNOLD. Buried: Bendigo Cemetery, Victoria. Area: Mon G1. Grave number: 21110. Service date: 19 May 1911. Eleven children located Victorian records for Walter and Elizabeth. 1. Henry Thorpe CARWARDINE. Born: 1864 Dunolly, Victoria. Birth recorded under CAWARDINE. Died: 1916 Bendigo, Victoria. Age: 52 years. Married: Jessie Mary Jean BURNS. Year: 1891. Place: Victoria. See Post: CARWARDINE Henry married Jessie BURNS 1891 2. Hugh Wilcox CARWARDINE. Born: 1866 Dunolly, Victoria. Died: 1952 Bendigo, Victoria. Age: 86 years. Buried: Bendigo Cemetery, Victoria. Area: Mon G1. Grave number: 21110. Service date: 22 May 1952. 3 Guy CARWARDINE. Born: 1867 Sandhurst, Victoria. Died: 1942 Cohuna, Victoria. Age: 74 years. Married: Minnie LANSELL. Year: 1892. Place: Victoria. Minnie was born 1863 in Sandhurst, Victoria. Parents named as William LANSELL and Jane Crouch ANDERSON. Minnie died 1954 in Cohuna, Victoria. Age: 91 years. Parents named as William LANSELL and Jane Crutch ANDERSON. 4. Mary Charlotte Arnold CARWARDINE. Born: 1869 Sandhurst, Victoria. Died: 1942 Bendigo, Victoria. Age: 72 years. Married: Luther Edwin Goldsmith BRIGHT. Year: 1891. Place: Victoria. Luther was born 1865 in Ballarat, Victoria. Parents named as Alfred Goldsmith BRIGHT and Sophia JACOBSON. Luther died 1892 in Prahran, Victoria. Age: 26 years. Parents named as Alfred Goldsmith BRIGHT and Siphia Goldsmith JACOBSON. 5. John CARWARDINE. Born: 1871 Sandhurst, Victoria. Died: 1871 Sandhurst, Victoria. Age: 02 days. Buried: Bendigo Cemetery, Victoria. Area: Mon C4. Grave number: 3881. Service date: 17 April 1871. 6. Thomas Brunsdon CARWARDINE. Born: 1872 Sandhurst, Victoria. Died: 1876 Sandhurst, Victoria. Age: 03 years. Buried: Bendigo Cemetery, Victoria. Area: Mon C4. Grave number: 3881. Service date: 07 April 1876. 7. Rose Elizabeth CARWARDINE. Born: 1874 Sandhurst, Victoria. Died: 09 October 1963, Ravensthorpe, Western Australia. Age: 89 years. Buried: Karrakatta Cemetery, Western Australia. Area: Anglican. Section: ZU. Gravesite: 0356. Grantee: Muriel Carwardine ARCHER. Married: Arthur Sydney CHAMBERS. Year: 1905. Place: Ravensthorpe, Western Australia. Arthur died 1950, Williams district, Western Australia. 8. Walter Henry CARWARDINE. Born: 1876 Sandhurst, Victoria. Died: 1937 Bendigo, Victoria. Age: 60 years. Buried: Bendigo Cemetery, Victoria. Area: Mon H6. Grave number: 30803. Service date: 11 February 1937. Married: Flora Constance HILL. Year: 1906. Place: Victoria. Flora was born 1876 in Bendigo, Victoria. Parents named as Frederick HILL and Mary Ann KERSHAW. Flora died 1959 in Bendigo, Victoria. Age: 84 years. Parents named as Frederick HILL and Mary Ann KERSHAW. Buried: Bendigo Cemetery, Victoria. Area: Mon H6. Grave number: 30803. Service date: 13 October 1959. 9. James Arnold CARWARDINE. Born: 1878 Sandhurst, Victoria. Died: 1947 Heidelberg, Victoria. Age: 69 years. Cremated: Fawkner Memorial Park, Victoria. Service date: 06 September 1947. Cremated remains location: Not recorded. First World War Embarkation Roll. Name: James Arnold CARWARDINE. Service number: 4158. Rank: Private. Roll title: 6 Infantry Battalion - 13 to 18 Reineforcements. (Dec 1915 - July 1916) Conflict: First World War, 1914-1918. Date of embarkation: 29 December 1915. Place of embarkation: Melbourne. Ship embarked on: HMAT Demosthenes. Ship number: A64. Married: Frances Georgina TURNER. Year: 1919. Place: Victoria. Frances was born 1875 in Eaglehawk, Victoria. Parents named as James Perriman TURNEER and Caroline GORDEN. Frances died 1956 in Brighton, Victoria. Age: 76 years. Father named as James TURNER. Mother unknown. Cremated: Fawkner Memorial Park, Victoria. Service date: 29 November 1956. Cremated remains location: Rose Garden 02. 10. Albert Augustus Arnold CARWARDINE. Born: 1880 Sandhurst, Victoria. Died: 1885 Sandhurst, Victoria. Age: 05 years. Buried: Bendigo Cemetery, Victoria. Area: Mon C4. Grave number: 3881. Service date: 18 July 1885. 11. George Frederick Brunsdon CARWARDINE. Born: 1888 Sandhurst, Victoria. Died: 02 August 1916, France. First World War Embarkation Roll. Name: George Frederick CARWARDINE. Service number: 3794. Rank: Acting Sergeant. Roll title: 24 Infantry Battalion - 9 to 12 Reinforcements. (Feb-April 1916) Conflict: First World War, 1914-1918. Date of embarkation: 08 February 1916. Place of embarkation: Melbourne. Ship embarked on: HMAT Warilda. Ship number: A69. First World War Roll of Honour. Name: George Frederick Brunston CARWARDINE. Service number: 3794. Rank: Private. Unit: 24th Battalion. (Infantry) Service: Australian Army. Conflict: 1914-1918. Date of death: 02 August 1916. Place of death: France. Cause of death: Killed in action. Cemetery or memorial details: Villers-Bretonneux Memorial, France. Sources: Registry of Births, Deaths and Marriages Victoria. Registry of Deaths and Marriages, Western Australia. Bendigo Cemetery Records, Victoria. Fawkner Memorial Park Cemetery Records, Victoria. Karrakatta Cemetery Records, Western Australia. First World War Embarkation Rolls. AWM145 Roll of Honour cards, 1914-1918 War, Army.bendigo, business, carwardine soap and candle

"A perpetual spring in the adjacent creek provided a steady supply of fresh water to the site on which the homestead is built. Although we can not be certain of the identity of the builder, the first stage of ‘The Willows’ homestead appears to have been constructed in the mid 1850s. The house is situated on Crown Allotment No.1 (No Section), Parish of Kororoit, an allotment of 5 acres 3 roods 4 perches. Although it had surveyed the land, the Crown did not offer it for sale until 22nd November 1861, at which time it was purchased by Charles March Williams. (Although the property is directly opposite and immediately adjacent to the Township of Melton, and was sold as ‘Suburban Allotment 33’, it was situated within the Shire of Braybrook rather than the Shire of Melton until 1917.) Considerable improvements had taken place on the land prior to the Crown sale. When CM Williams purchased the allotment in November 1861 he paid £23.5.0 for the land itself, and valued the improvements at £400. Even allowing for some exaggeration by Williams, this is an extremely high valuation for improvements, and must have included a house. Some local research has claimed that in 1858 Williams had taken over the interest of a Mr Parkinson in the property, and that Parkinson built the house upon taking possession of the land c.1855. It was definitely built by 1861, when a map shows a square building on the site marked as ‘House’. The property is important in the district for its association with the establishment of the pound. The district pound had been established in 1854, when George Scarborough of Mount Cottrell (Mt Cottrell Road, south of Greigs Road) was appointed pound-keeper. Scarborough resigned in 1857. The pound was moved to Melton following agitation from local farmers and Charles March Williams appointed pound-keeper on 26th April 1858. Williams, the son of a doctor, had been born in London. Reminiscences of local residents of the time, as recorded in the Express newspaper, note Williams’ success in breeding horses on the property. Sales of up to 60 guineas were noted. Whether this was from Williams’s own stock or from unclaimed pound stock is not made clear. Williams appeared before a government inquiry in 1860 and advocated registration of all stock brands in the State. Williams died in 1862 leaving a widow, Catherine, and five living children aged 15 years to five months. At the time of his death Williams had entered negotiations with one Matthew Devenish and had a mortgage of £100 on allotments 1 and 2, Parish of Kororoit. Catherine Williams was appointed pound-keeper on 2 September 1863, with her eldest son Charles as her assistant. Her tenure was short for on 22nd March 1864 George Minns senior paid Matthew Devenish £135 for allotments 1 and 2 Parish of Kororoit (considerably less than Williams had claimed the property was worth in 1861) and on the same day paid William Tullidge £45 for the adjoining allotments 3 and 4. In April 1867, James Ebden Minns, the newly married son of George senior became the owner of The Willows property having entered into a mortgage arrangement with his father to the extent of £200. At the time George Minns was residing in Kaarimba having left Melton in 1867 for a short trip to England and upon his return having taken up a selection in the Kaarimba district with his son Frederick who had a hotel licence there. James paid out the mortgage on 2-1-1873. James Minns was appointed pound-keeper in 1872; in 1885 the pound was moved elsewhere and Minns purchased the old pound site and added it to his farm. The Willows residence underwent a major change about this time. A two room extension, similar in style but with a lower elevation was added to the original rear of the house with a chimney matching the distinctive originals. Window arrangements did not match the original but became a feature of the façade when the new addition became the front of the building. Six buttresses were attached to the east and west walls of the old building, two to the south wall and the whole rendered with mortar to give the appearance of dressed stonework around the windows. Galvanized iron was placed over the shingles and a verandah added on three sides. By 1876 The Willows was the homestead for a thriving mixed farm of 340 acres of which 156 was rented from a H. Ruck. In October of that year the Australasian travelling reporter visited and reported on the property. In common with the nearly every other property in the district the farm had ‘recently’ (generally within the last two years) abandoned cultivation of crops, and turned over completely to cattle pasture. Butter making was the principal occupation of the farm, which had about 50 head of cattle, a large proportion of which were milking cows. The reporter also noted that a ‘large number of pigs are kept upon this farm and are found to be very profitable stock’. Their manure was used in an orchard and garden in which ‘large quantities of lucerne and prairie grass are grown for the use of stock when ordinary feed is scarce’. Two bores attached to deep brick lined wells supplied water for the house in addition to the farm. A commodious timber barn and necessary sheds had also been constructed. Access to the property was improved following the construction of the bluestone ford across the creek c.1887, when the recreation ground came into use. Prior to this date it may have been that the crossing referred to as ‘Mr Minns bridge’ was used. This appears to have been a flimsy structure and has but two references in Council reports in the Melton Express in the 1880’s. It is believed that in the late 1890’s a timber building was added near the rear of the building to house a kitchen, ablutions and laundry rooms and rooms for seasonal workers. This was attached to the house by means of a trellised walkway using the original front entry to the house (long since the back door). A photograph of this building appears in a local history of Melton. This was demolished in recent decades during the period when the house was tenanted (after the Minns family had left). James Minns son, George, took over the property following his marriage to Alice Walsh in 1903. James and Caroline moved into a house on the former JH Games property at the eastern end of Henry Street. George held the position of Shire Secretary for Melton for 40 years. He was a most prominent member of the community being Secretary to, among others, the Melton Coursing Club, the Shooting Club and the Cemetery Trust. He also rode with the hunting parties who sported across the Plains and were entertained at Mount Kororoit. George and Alice had one son, Norman who followed his father into local government and became Secretary of the Shire of Werribee completing a record term in this position. George retired to Werribee in 1951, where he died in 1965. The National Trust records note that James Ebden Minns and his sons were ‘leading men of the district, Justices of the Peace, and Shire Councillors’. It claims that Sir Thomas Bent was a frequent visitor. The Willows passed into the hands of George’s grandson, Bruce Minns and the property was let for a number of years. In the 1960s it became vacant and was subject to vandalism. Major structural problems arose with the part demolition of the roof, the loss of windows and doors and holes dug into and under the floorboards. The outbuildings were particularly targeted. Following widespread public support, the Shire of Melton purchased the house, with 3.75 acres of land, in 1972. In 1975 the Shire of Melton and the Melton and District Historical Society were successful in nominating the building for National Trust classification, and then the Australian Heritage Commission’s Register of the National Estate. The AHC particularly noted its ‘townscape importance’. It was envisaged that the farmhouse would form ‘a picturesque centrepiece to Melton’s planned … historical park, along with Dunvegan bluestone cottage … and similar structures as they become available.’ In a time of great Melton’s ‘satellite city’ development the Council spelt out its broader vision in its submission to the AHC: ‘Melton is destined to become, by the end of the present century, a city of between 75,000 and 100,000 people. Significant relics of the past, such as ‘The Willows’, regrettably will be rare in that situation. It is essential that sufficient tangible links with Melton’s pioneering days remain to promote in the new community a sense of history and continuity’. Under the direction of ‘The Willows’ Restoration Committee and consultant architect John Hitch, all outbuildings, with the exception of the garage and toilet, were demolished and the dwelling house restored. Finances were provided by the Shire of Melton and the National Estate Grants Program, and considerable amount of voluntary labour was provided by the local community. The orchard was removed, and remaining wooden buildings were relocated to provide an open vista for visitors to the Park. The property was furnished with donations from district families keen to preserve this example of pioneer life in the area. The Willows became the headquarters of the Melton and District Historical Society". Invitation to the family reunion at the Willowslocal identities, pioneer families

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 30%of original electroplating remains. Small amount of concretion on stem.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Only 10% of original electroplating remains with some verdigris. No marks visible.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Only 10% of original electroplating remains with some verdigris. Makers marks are obscured.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 40% of spoon surface is encrusted with red and white sediment and 40% shows verdigris. Makers marks are obscured.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 80% of the spoon surface is encrusted with red and white sediment. The bowl is corroded and chipped. Makers marks are obscured.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Some verdigris and there is heavy encrustation on stem and bowl of spoon (encrustation in bowl bears the imprint of another spoon).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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Restored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has been electroplated onto a nickel-silver base metal. Spoon has been treated and cleaned to present a shining golden appearance. There is some pitting on the reverse side of the spoon. Four of the five makers marks are clearly visible on the lower rear of the handle: (1) Trade Mark (2) Resurrection Cross (3) Maltese Cross (4) Crab Design.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Two of five makers marks are discernible on lower rear of handle: (3) Maltese Cross (4) Crab Design.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. One of five makers marks is legible: (3) Maltese Cross.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Minimal original electroplating remains and makers marks are obscured. 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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. No makers marks are visible.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original electroplating remains with some verdigris. Outlines of five makers marks are discernible but the details are obscured.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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original electroplating remains with some verdigris. One of five makers marks is legible: (3) Maltese Crossflagstaff 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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original electroplating remains with some verdigris. Two of five makers marks are visible: (3) Maltese Cross (4) Crab Designflagstaff 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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks