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matching 1884-1887
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Flagstaff Hill Maritime Museum and Village
Equipment - Distant Signal, 1897-1931
This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Cone, part of a Flagstaff signal set. A woven cane cone, painted black, with a metal rod passing through the centre and two crossed metal bars at the base. The central rod has a loop at the top and passes through the bars at the base, finishing in a metal loop. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal cone, day signal cone, cone signal, cone day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897 -
Flagstaff Hill Maritime Museum and Village
Equipment - Distant Signal, 1897-1931
This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.distant signal, flagstaff signal, signal station, masthead signal, communications, marine technology, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, day shape, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897 -
Flagstaff Hill Maritime Museum and Village
Equipment - Distant Signal, 1897-1931
This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal ball, day signal ball, ball signal, ball day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897 -
Mission to Seafarers Victoria
Instrument - Reed organ, W Bell & Co, c. 1888
This organ was gifted by the Bethel Community in 1890 to the then Victorian Seamen's Mission, originally founded by the Bethel Union in 1857. The gift was intended to assist with worship. Despite all appearance, this organ is not a pipe organ but a reed organ that works in a similar manner to an accordion. In May 1890, the sum of seventy pounds was put towards the purchase of the organ. The sum being raised via subscriptions. The organ was inaugurated in September 1890. Jabez Carnegie (1832-1892), importer of piano and organs in Melbourne, had made a trip to Europe and Canada in 1887 and had secured the agency of Bell organs. W. Bell & Co were a Canadian organ and piano manufacturer, considered the premier organ manufacturer of the time. W Bell & Co changed its name to Bell Organ and Piano Co in 1888 meaning this organ had to be manufactured prior to the name change. The organ was first used in the mission main room from 1890 to 1915 when the St Nicholas chapel was built at the back (see item 0548. It was transfered to the new Port Melbourne mission in 1937 (link on postcard from State Library Victoria). In 1972, it was transferred to the Holy Trinity Church in Bay Street after the closure of the Mission In the late 1980s during a National Trust campaign to save the building, the organ was sold by the Anglican Men's Society to the Trust's organ committee, who carried out some restoration work and returned it to the former Missions to Seamen chapel. In 1991 the Office of Major Projects had control of the whole 'Bayside' development site. With the Mission to Seamen Building emptied and proposed for demolition, the Office of Major Projects removed the organ and placed it in storage in various locations - finally, in the Museum of Victoria store in Abbotsford. In 1995-6, enquiries by Jim Hillis resulted in the return of the organ to the control of the Port Melbourne HIstorical & Preservation Society. As the Society had no suitable location for the organ, several churches and schools in Port Melbourne were approached to take the organ with no results. The nearby suburbs were suggested next. Finally the Melbourne Maritime Museum (Polly Woodside) was approached and agreed to place it in their Museum on a long term loan. In 1997 it was on display in no 5 shed South Wharf (23/3/1997). In 2006, the Polly Woodside South Wharf site was to be re-developed, and they could no longer retain the organ. Accordingly, on 4 May 2006, the organ was transferred to the Mission To Seafarers building in Flinders Street Extension as an indefinite loan (refer OL 022) The PMHPS deaccessioned it to finally transfered it in 2018 to MTSV.(See also acquisition details re 21st C finalisation of acquisition) This organ is a tangible reminder of the longevity of the Mission to Seafarers, a link with the original Bethel Union which was instrumental in 1856 calling a public meeting and inviting subscriptions by various non-conformist churches to found a mission to Seamen. Rev Kerr-Johnson delivered the first service in 1857 aboard the Emily. The Mission to Seafarers has been in operation ever since and continues to operate to the same purpose today.Large reed organ that looks like a pipe organ with fifteen elaborately painted pipes bearing a floral motif. The body of the organ is elaborately decorated in carved wood. It has 17 knobs above the keyboard both which can be concealed when the keyboard cover is lowered. There are two foot pedals at the bottom of the organ with "Mouse Proof Pedals" cast into the framing iron. list of stop names: Viola 4Ft Diapason 8Ft Dolce 4Ft Violetta 2Ft Sub Bass 16 Ft Octave Coupler Vox Humana Forte Picciolo 2Ft Hautboy 8Ft Aeoline 8Ft Cremona 16Ft E---bone 16Ft Echo 8Ft Celeste 8Ft Melodia 8Ft Flute 4FtMaker's mark in gold lettering above keyboard: W. Bell & Co Brass plaque on front board: Presented to/The Victorian Seamen's Mission/by/Congregation worshipping in Bethel/& friends./1st September 1890 Behind the stops a wooden plaque: J. CARNEGIE & SONS, SOLE AGENTS FOR VICTORIA MELBOURNE organ, worship, bethel, pipes, reed, bethel union, pipe top, jabez carnegie, w. bell & co, port melbourne, mission to seafarers, seamens' mission, mission to seamen, guelph, ontario, canada, pmhps, polly woodside, harmonium, reed organ -
Wodonga & District Historical Society Inc
Negative - Haeusler Glass Negatives Collection - Merry-go-round - A. Weniger's Steam Carousel, c1910
This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. Merry-Go-Rounds or Carousels were a popular entertainment accompanying many celebrations and events in Albury and Wodonga from as early as the mid 1870s. They featured at events such as Empire Day and Arbor Day celebrations as well as the Wodonga Racing Club meetings, Wodonga Agricultural Shows and Victory Day celebrations at the end of World War 11. They were operated by a variety of travelling showmen and entrepreneurs. Early merry-go-rounds were steam powered. The merry-go-round in this negative was owned by Anton Weniger of Melbourne. From 1909, Mr Weniger operated a shooting gallery and Steam Riding Gallery on the Lower Esplanade, St. Kilda on land he had leased in 1909 from the St. Kilda Foreshore Trust. Weniger also took his carousels by train to many rural areas, including several visits to Albury, Yarrawonga and Benalla. His largest carousel was designed and built in Melbourne by Herbert Thomson in 1915. It has now been restored and has been on show as the Civic Carousel in Canberra, ACT since 1974. Anton Weniger’s steam merry-go-round was definitely in the Albury- Wodonga area in September 1912. As reported in the Border Morning Mail on Saturday 2 November 1912, Mr. Weniger was the victim of a robbery which included some money and his gold watch and chain, stolen from a railway truck in the Wodonga railway yards. The riding gallery and other belongings had been placed on the truck in Albury after the Albury show and sent on to Wodonga in transit to Wangaratta. Whilst in the Wodonga yards the truck was broken into and the goods stolen. Two of Weniger’s former employees, Herbert Backhouse and Edmund Pressard were subsequently charged with the robbery and sentenced to respective sentences of 3 and 9 months imprisonment, both with hard labour. In January 1916, Weniger’s Steam Riding Gallery was attacked by a group of rioting soldiers as a result of rising anti-German sentiment with the onset of World War 1. As a result, Anton Weniger terminated his interest and lease of the Steam Riding Gallery to his partner, William George Kelly. Although he had lived in Victoria for over 25 years and had been a naturalised Australian for 20 years, Anton Weniger was interned for the duration of World War 1 as an enemy alien. Anton Johannes Matthias Weniger died on 14 August 1923 and is buried in the Brighton General Cemetery, Melbourne, Victoria.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. A large group of people standing around a Merry-Go-Round.At top left of Merry-Go-Round "A.WENIGER./MELBOURNE"wodonga pioneers, haeusler family, glass negatives, dry plate photography, carousel, anton weniger -
Ballarat Tramway Museum
Magazine, Australian Electric Traction Association (AETA), "The Trolley Wire", Vol 2, No. 4, "The Trolley Wire", Vol 2, No. 5, "The Trolley Wire", Vol 2, No. 6, "The Trolley Wire", Vol 2, No. 7, "The Trolley Wire", Vol 2, No. 8, "The Trolley Wire", Vol 2, No. 9, 1953
5686.1 - Spirit duplicated magazine, 8 quarto pages, single sided - " The Trolley Wire", Vol 2, No. 4, April 1953, stapled down along the left hand side. Has items on proposed tramway to Rockdale, map of the VR tramway to Brighton Beach, tramways and ferry connecting services in Sydney, Eastern Suburbs tramways, Sydney news, tram destination roll for Ashfield (1910), list of destination boards on Sydney steam trams. 5686.2 - Spirit duplicated magazine, 7 quarto pages, single sided - " The Trolley Wire", Vol 2, No. 5, May 1953, stapled down along the left hand side. Has notes on Tempe to Rockdale (map), tramways and ferry connecting services in Sydney, Rushcutters Bay depot track layout, opening dates of Sydney tramway extensions, Sydney news, association news and signs used on Sydney trams. 5686.3 - Spirit duplicated magazine, 7 quarto pages, single sided - " The Trolley Wire", Vol 2, No. 6, June 1953, stapled down along the left hand side. Has an editorial on Sydney transport, tramways and ferry connecting services in Sydney, Sydney news, introduction of electric trams into Sydney, Light St depot, Brisbane track layout, Sydney news, association news. 5686.4 - Spirit duplicated magazine, 9 quarto pages, single sided - " The Trolley Wire", Vol 1, No. 7, July 1953, stapled down along the left hand side. Has notes on replacement with buses on the Ryde line, tramways and ferry connecting services in Sydney, Sydney news, Honeysuckle Depot 1887, Iron Cove or Drummoyne Bridge, Sydney news, Association and Museum news. 5286.5 - Spirit duplicated magazine, 6 quarto pages, single sided - " The Trolley Wire", Vol 2, No. 8, August 1953, stapled down along the left hand side. Has notes on the commencement of electric trams in Sydney, Iron Cove or Drummoyne Bridge, Association and Museum news, map of Sydney electric lines in 1899 and opening dates of Sydney tramway extensions. 5286.6 - Spirit duplicated magazine, 6 quarto pages, single sided - " The Trolley Wire", Vol 2, No. 9, September 1953, stapled down along the left hand side. Has notes on an electric train tour, tramways and ferry connecting services in Sydney, Sydney news, Iron Cove or Drummoyne Bridge, Association news and Newcastle news. See Reg Item 5685 for other Vol 1 issues and Reg Item 105 for Vol 1, No. 6 and Vol. 3 No. 5All copies have pencil or typed inscription of "H. H. Matthews "along top edge.trams, tramways, tramway news, history, sydney, newcastle, map -
Wodonga & District Historical Society Inc
Photograph - Civic Leaders Wodonga 1876 - 1994
Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. In March 1973 Wodonga was declared as the first Rural City in Australia. This was officially proclaimed by the Governor of Victoria, Sir Rohan Delacombe at and open-air ceremony in Hovell Street following a procession along High Street led by the Victorian Police Band. The first meeting of the held in the open air immediately after the proclamation. In 1994, the Jeff Kennett government restructured local government in Victoria. His reforms dissolved 210 councils and sacked 1600 elected councillors. Commissioners were appointed in their place. Wodonga’s Commissioners were Mel Reid, Des Kelly and Michael Hanson. Reforms introduced created 78 new councils through amalgamations. Democratically elected councillors returned to Wodonga in 1997, with Graham Crapp as Mayor.This item documents the leaders of local government in Wodonga since its inception in 1876 until Local Government reform in 1994.A photo collage representing Shire Presidents and Mayors of Wodonga, including a typed list of names and dates. All Shire Presidents and Mayors of Wodonga from 1876 – 1994 J. Woodland 1876-7, J. Bambrick 1877-78, G. Street 1878-79, W. L. Ferrier 1879-80, T. Reidy 1880-81, J. Bambrick 1881-82, A. Schlink 1882-83, T. Reidy 1883-84, N. P. Newnan 1884-86, J. Bambrick 1886-87, H. Harkin 1887-88, T. Johnston 1888-89, W.C. McFarlane 1889-91, P. Adams 1891-92, J. G. Shields 1892-93, H. Harkin 1893-94, W.C. McFarlane 1894-95, N. P. Newnan 1895-96, J. Bassett 1896-97, R. Morrison 1897-98, G. S. Manns 1898-99, H. Smith 1899-1900, H. Beardmore 1900-1901, G. Leighton 1901-02, J. H. McGeoch 1902-03, H. Beardmore 1903-1904, J. Whan 1904-05, A.E. Müller 1905-06, A. L. Wright 1906-07, J. H. McGeoch 1907-08, H. Beardmore 1908-1910, G. Leighton 1910-11, H. Beardmore 1911-1912, J. H. McGeoch 1912-13, G. Leighton 1913-14, H. Beardmore 1914-1917, S. T. Parker 1917-19, W. Twomey 1919-21, T. Ryan 1921-23, W. Twomey 1923-25, T. Ryan 1925-26, C. F. Pollard 1926-27, W. Twomey 1927-28, C. S. Street 1928-29, K. D. Watson 1929-30, M. Martin 1930-31, R, Richardson 1933-36, T. Ryan 1936-38, M. Martin 1938-39, R, Richardson 1939-41, J. S. Hore 1941-43, K. D. Watson 1943-45, C. F. Pollard 1945-47, C.C. Sheather 1947-48, T. E. Snowdon 1948-49, J. S. Hore 1949-50, G.A.W. Boyes 1950-52, D. J. Schubert 1952-54, V. R. Peard 1954-55, M. E. Morrison 1955-56, M. E. Morrison 1956-57, J. S. Hore 1957-60, D.J. Schubert 1960-61, A.B.S. Collins 1961-62, A. G. Richardson 1962-63, J. S. Hore 1963-65, J. A. Terrill 1965-67, H. W Draper 1967-68, J.A. Terrill 1968-71, *L.E. Stone 1971-74, K.T. Riley 1974-76, H. Draper 1976-77, Rex. Chamberlain 1977-80, H. W. Draper 1980-82, R. J. Macaulay 1982-84, L.O. Boyes 1984-85, **Pamela Stone 1985-86, M. McEachern 1986-87, R.J Macaulay 1987-88, I. Deegan 1988-89, Valentina Gillard 1989-90, R. J. Macaulay 1990-91, L. C. Boyes 1991-92, T. Corcoran 1992-94 *Last Shire President & first Mayor of the City ** First woman Mayor, Widow of L.B. Stonewodonga council, wodonga shire council, civic leaders -
Flagstaff Hill Maritime Museum and Village
Functional object - Bell, Before 1855
This small ship’s bell, possibly a ‘mess’ or dining room bell, was the smaller of the two bells rescued by the crew of the Schomberg when it was wrecked in 1855. All of the crew from the Schomberg wreck survived. They carried the two ship’s bells with them as they made their way along the coast, eventually arriving at the home of settler, John Manning, who lived at Hopkins Point near Warrnambool. Manning acquired the Schomberg bells, presenting them to two Warrnambool churches; the smaller one to St Joseph’s Catholic Church and the larger bell to St John’s Presbyterian church. This small bell developed a crack after about a year at St Joseph's church and could no longer be used. Thomas Manifold imported a new bell for that church and the cracked belled was stored at his farm and stored. The property was sold years later to John Logan, who donated the discarded bell to the Warrnambool Museum when it first opened in 1886. The Curator, Joseph Archibald, displayed the bell in the entry. The larger Schomberg bell was installed in St John’s Presbyterian Church. In 1887 a ‘massive’ new bell, made in Victoria, was installed at the Presbyterian Church, so the old bell was transferred to the nearby Woodford Presbyterian authorities. During World War II the 1887 bell cracked, and could not be repaired. In 1983 the old Schomberg bell from the Woodford church was loaned to Flagstaff Hill Maritime Museum and Village. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen at a cost of £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and an oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the ship Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons of cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signalled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in 825 meters of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby.The bell is particularly significant in that along with other items from the wreck helped in part to having the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This bell forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck. A small ship’s bell. The bell bears the ship’s name and year of construction on one side and the name and address of the ship’s builders on the other. These details are deeply engraved into the metal and formed in bold upper-case lettering. The bell has two bell stands, a left and a right side. Both stands have an Iron pipe made into an inverted ‘Y’ shape with a hole made in the single length, and feet attached to a rectangular metal plate at the other two ends. Feet are bolted into a timber base that has a hole drilled through the centre for mounting. Bell's front; “SCHOMBERG” with “1855” below. Bell's back “HALL & SONS (crack splits letter “N”) / BUILDERS (in italics) / ABERDEEN” (crack splits letter “B”).flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, silver plated bell, mess bell, bell stands, captain ‘bully’ forbes, alexander hall and son, james baines and company, liverpool’s black ball line, bell, schomberg bell, ship's bell, small bell, st joseph's church -
Surrey Hills Historical Society Collection
Photograph, Norma Bull portrait
Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull -
Chiltern Athenaeum Trust
Painting - Oil painting on gumleaf by Alfred William Eustace, circa 1851 to 1907
This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape -
Chiltern Athenaeum Trust
Painting - Oil painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Chiltern Athenaeum Trust
Photograph
Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern -
Chiltern Athenaeum Trust
Photograph - Reproduction
These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Flagstaff Hill Maritime Museum and Village
Functional object - Bulls Eye, 1886
Context: A deadeye or bullseye is an item used in the standing and running of sail rigging in traditional sailing ships. It is a smallish round thick wooden disc (usually lignum vitae) with one or more holes through it, perpendicular to the plane of the disc. History Falls of Halladale: The wooden bullseye comes from the Falls of Halladale, a four-masted iron-hulled barque that was built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Centre in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the site of the wreck along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display at the village.The pulley sheave is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history.Carved wooden Bulls Eye/Deadeye, varnished.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, falls of halladale, shipwreck peterborough, 1908 shipwreck, great clipper ships, russell & co., bulls eye -
Mission to Seafarers Victoria
Plaque - Memorial Plaque, Amy Neville Brown (1882-1974), 1976
Amy Neville Brown (1882-1974) was a longlife member of the Mission to Seafarers ladies' Committees: 1910 - Amy is first mentioned in our records as LHLG branch secretary for Elsternwick. (from diaries written by her and her sister Beatrice during 1909-1913 and held at the Glen Eira Historical Society, Amy tells she attends “kirk” with Miss Godfrey about once a month and each time they go to the “Institute” afterwards.) 1918 - 1922 sees Amy as “Schools secretary” LHLG. 1933 - Miss A N Brown becomes Honorary Secretary of the LHLG. 1946 – LHLG becomes “Harbour Lights Guild”. 1949 – Dora Simpson is president of HLG & Amy Brown is Honorary Secretary. 1957 – Amy retires as Honorary Secretary of the HLG. Other interests: 1933 - Amy founded the Victorian Aboriginal Group along with Valentine Alexa Leeper (1900-2001). She acted as Hon. Sec. to the VAG for 40 years until its winding up in 1971 8 boxes of papers related to their activities are held at the SLV under Amy’s name (with Val Leeper). 1950 - Amy was a member of the YWCA 1963 – she was president of the Agnes Benson Auxiliary of the YWCA. Amy’s parents were Andrew Howden Brown & Catherine Marianne (Kitty) Wight. She had 2 brothers: Charles John Brown, Edward Byam Brown & 3 sisters: Jean Constance Brown (1884-1973), Catherine Philpott Brown (1886-1980), Grace *Beatrice Brown (1889-1984) who was also a member of the Mission's ladies' committee. None of 4 sisters married, they lived all their lives in Elsternwick. Edward Byam Brown was an academic at Melbourne University rising to become Ass. Prof. of Electrical Engineering by the 1950s. He married Vera Scantlebury in 1926 – they had 2 children. Amy’s maternal grandparents were Edward Byam Wight and Catherine Philpott. Both arrived in Melbourne in the early 1840s. Edward Wight is included on Thomas Chuck’s collage of early Victorian pioneers. Anne Jackson has written a short biography of Catherine’s brother, William Philpott, which includes a paragraph on Edward Wight. Catherine’s youngest son, Neville Wight, became a solicitor living at Woodend. He married Grace Rutherford – Mrs Neville Wight was a member of our Executive Committee from 1929 to 1933. Neville Wight’s obituary states that “he served his articles with … the firm of Moule & Seddon”. The principal of this firm was W H Moule, well known judge and cricketer. His son, also W H Moule, was Honorary Secretary of MtSV Executive Committee for 20 years until his retirement in 1958. was a member of the Harbour Lights Guild ( Honorary General Secretary in the 30s) then the Flying Angel League. She passed away in September 1974. A protege and friend of the Godfreys and Ina Higgins she actively assisted in setting up school branches of LHLG and eventually became a leading member in the 1930s.The window made by Tony Hall along with this plaque were dedicated in 1976. Amy Neville Brown had a lifelong association with the Mission and other philanthropic and social causes. Small plaque mounted on wooded board.In memory of Amy Brown For her lifetime of devoted service to the Mission 26th September, 1974amy brown, plaque, memorial, flying angel club, lhlg, amy neville brown (1882-1974), victoria aboriginal group (1933-1971), vag, val leeper, valentina alexa leeper (1900-2001) -
Flagstaff Hill Maritime Museum and Village
Post Office Receiving Pillar, 1885
This Post Office Receiving Pillar was restored in 1980 and is now a fully operational Australia Post mailbox. In early August 1980 Prime Minister Mr. Fraser posted Warrnambool’s first commemorative envelope into this restored Post Office Receiving Pillar at Flagstaff Hill Maritime Village. The special limited edition envelopes are numbered 1 – 7000. When posted, the envelopes would have the Flagstaff Hill Logo and Flagstaff Hill Maritime Village’s own postmark of a ship’s steering wheel surrounding a lighthouse and a sailing ship, and were dated August 3 on the First Day Cover. Amongst Flagstaff Hill’s collection is that very first letter posted by Prime Minister Fraser. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. [References: Flagstaff Hill Maritime Village records, The Warrnambool Standard, August 1st, 1980, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 “High Door Round” design. Tall cast iron cylinder with decorative dome cap with crown on top. Side has a slot and a hinged door with handle shaped as a fist. Painted red with gold trim. “POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Restored in 1980 and once again operating as an Australia Post mailbox. Commemorative plague on pillar.“POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Flagstaff Hill Maritime Museum – Port of Warrnambool. This letter receiver was officially commissioned on 3rd August 1980 by the Prime Minister of Australia, the Right Honourable Malcolm Fraser M.P. on completion of 25 years’ service as the Federal Minister for Wannon.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post -
Flagstaff Hill Maritime Museum and Village
Audio - Gramophone Cylinder, Sandy McNab, 1908
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder was made by Edison 1908 and contains Record number 53 by Sandy McNab. c. 1908On label “Edison Record No. 53, Sandy McNab" and "Form no. 1130, April 1908. Patented December 6 1904, No. 2109, and December 6 1904 No. 2110. “This record is sold by the National Phonograph Company of Australia Ltd, at Sydney Australia.” Trade Mark Thomas A. Edison warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison -
Surrey Hills Historical Society Collection
Photograph, Yielima, 31 Erasmus Street, Surrey Hills
Known as ‘Yielima’ 1888-1922 and ‘St. Aubins’ 1922-1956, this ‘modernized’ mansion was built about 1887 for Edward Kellett. He was born in Chorley, Lancashire, England. Edward Kellett married Selina Wells in 1852 at St Peters, Eastern Hill. She was born in c1827 in Aston Clinton, Buckinghamshire, daughter of William Wells and Elizabeth Allan. The family arrived from Aylesbury, Buckinghamshire on the 'Osprey' on 22 March 1849. The couple had 8 children - 5 girls and 3 boys; 3 died in infancy. All were born in Collingwood before the family came to Surrey Hills. Edward's funeral notice in The Argus of 11 July 1893 states that he was a corn merchant of Exhibition Street. His property was sworn at 1512 pounds, 1232 in realty and 280 pounds personally. He was buried in Melbourne General Cemetery (CofE Compartment K, No 306). Selina is listed in Erasmus Street in the 1903, 1905 and 1908 electoral rolls as a boarding house keeper. She died at Surrey Hills on 22/10/1911. In her will she left realty valued at 900 pounds and personally at 220 pounds. She was buried with her husband. 'Yielima' was sold on 19 Febraury 1919 with a sale of contents on 18 March 1919. From 1922-1947 Thomas Daniel O’Callaghan (c1871-1962), a police magistrate, made his home here. He is remembered as being of ‘soldierly demeanour, with a flowing mane of hair’. He always carried a walking stick and wore a flower in his buttonhole. His wife was Florence (nee Harling, c1873-1933) pre-deceased him. They had previously lived in Essendon, Moonee Ponds and Stawell before coming to Erasmus Street. After moving out of Erasmus Street he is listed in the 1949 and 1954 electoral rolls at 90 Durham Road, Surrey Hills. In 1952 the property was purchased by Father Timothy Fitzpatrick, Parish Priest of Our Holy Redeemer Parish, Surrey Hills. It consisted of a large two storey house, a coach house and stable, and an acre and a half of land. In 1954 the coach house and stable were converted into the Church of Our Lady of Perpetual Succour and the following year Father John Kelly was appointed parish priest. and resided in the house. At this time the house was not in good repair. "The gentleman who had lived there alone since his wife died many years before, lived in the servants quarters and the rest of the house had been badly neglected. (REF: https://ourholyredeemer.cam.org.au/history) At the beginning of 1957 the Missionary Sisters of the Sacred Heart opened a school next door. As they travelled from Balwyn on a daily basis, the property at 301 Elgar Road was purchased as a presbytery and 'Yielima' became a convent. The stables continued to be used as a church until 1964 when a new church was completed and opened by His Grace Archbishop Simmonds on the 20th of March. There were never large numbers of double-storey Victorian mansions in Surrey Hills. 'Yielma' is significant as one of the few remaining ones. It is also significant for its association with the Catholic Church.A black and white photograph of an Italianate style home with a weatherboard building with a cross on it in front of the main building and to the left of the photograph. There are some well established trees in the garden, a car parked in the parking area and a picket fence along the front.yielima, st aubins, house names, erasmus street, surrey hills, 1887, (mr) edward kellett, (mr) thomas daniel o'callaghan, corn merchant, police, italianate style, wattle park roman catholic church, (mrs) florence o'callaghan, mrs selina kellett, miss selina wells, convent, presbytery, our lady of perpetual succour -
Flagstaff Hill Maritime Museum and Village
Instrument - Octant, mid 1800's
An Octant is a doubly reflecting navigation instrument used primarily by sailors to measure the angular distance between two visible objects and was a forerunner of the sextant. The name comes from the Latin octo, or "one-eighth of a circle," for the Octan'ts arc which spans 45°, or one-eighth of a circle. The primary use of an Octant is to measure the angle between an astronomical object and the horizon for celestial navigation. The estimation of this angle, is known as sighting or shooting the object, or taking a sight. The angle, and the time when it was measured, can be used to calculate a position line on a nautical chart (latitude), for example, sighting the Sun at noon or Polaris at night (in the Northern Hemisphere) gives an angle by which the latitude can then be estimated. Sighting the height of a landmark on land can also give a measure of distance. This fine octant once belonged to Captain Farquhar Chisholm and was donated by his granddaughter, Margaret Ruth Greer (nee Chisholm, born 1914). The label inside the Octant's box reads “Thomas L. Ainsley, Instrument Maker … etc”. Farquhar Chisholm was born in 1832 in Inverness, Scotland. He regularly sailed on perilous voyages between Quebec, Canada and the Baltic ports of Europe. In 1854 he migrated to Australia during the Gold Rush, to a place called Fiery Creek (near Beaufort Victoria) where he was fairly successful in his quest for gold. In the years of the Great Gold Rush, it was said that there were over 40,000 diggers in the goldfields of the Beaufort area! In 1857 having made sufficient money, he hired another crew and returned to Clachnacuddin, Inverness shire, Scotland and in that same year, he studied and obtained his Master Mariner Certificate (which would have included the use of an octant for navigation). He was appointed to Mr George (or James) Walker, as commander of his sailing ship, the 3-masted ELIZABETH, built 1859 and known as “The Walker barque”. In 1870 he married, then in 1887 returned to Australia with his wife and children (Kenneth Chisholm (1871), Mary Bremner Chisholm (1873), Margaret Hood Chisholm (1874), Farquhar Chisholm (1878)). They arrived in Port Melbourne, Victoria and sadly, only six weeks after landing, his wife Caroline passed away (in Geelong,1888). In 1900 Capt. Chisholm lived in Camperdown (Victoria) and not long after this his daughter Margaret died of consumption. In his later years, he went to live in the manse of St. Paul’s Presbyterian Church, Wangaratta, with his son, Rev. Farquhar Chisholm. He died there on Sat, 23rd March 1912, 80 years old. He was known as “… quiet, unobtrusive and competent, respected by all with whom he came in contact”. Some other members of Captain Chisholm’s family are; his older son Kenneth Chisholm, who was a contractor in Camperdown; a nephew Donald Macintosh (of 23 Douglas Row, Inverness); a grandson Brian Jones (son of Caroline Belle-Jones nee Chisholm, who lived in Camperdown in the earlier part of her life).The octant, the forerunner of the sextant, was a significant step in providing accuracy of a sailors latitude position at sea & his vessels distance from land when taking sightings of land-based landmarks.Octant, once belonging to Captain Farquhar Chisholm. Wedge shape (the size of an eighth of a circle), made of wood, glass and metal. Used in the 1880s. Maker’s name across centre “L. SIMON - - - SHIELDS”. Three (3) light filtering, coloured glass shades. Two (2) eyepieces. Scale attached for measuring angles. Label inside the fitted, wedge-shaped case "Thomas L. Ainsley, Optician"Label inside case "Thomas L. Ainsley, Optician" Maker’s name across centre “L. SIMON - - - SHIELDS”.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, maritime navigation, navigation instrument, migration, captain chisholm, farquhar chisholm, sailing ship, the elizabeths, thomas l. ainsley, l. simons, shields england, octant, john hadley, chisholm -
Flagstaff Hill Maritime Museum and Village
Functional object - Hat Box, John Brush, Son & Co, 1920s
This sturdy, deep hat box has been carefully constructed to give the contents utmost protection in the roughest of travel conditions. At the same time, attention to detail and quality of materials makes the box an attractive, desirable and useful piece of luggage. The supports inside the hat box show that the hat’s brim dipped at the front and back in the popular 1920s Homburg or Derby style. The hat box was likely to have been purchased, complete with its fashionable hat and personalised with the initials ‘G.M.’. The five shipping labels on the hat box tell that the owner traveller overseas with it on more than one occasion. The owner had first travelled with the shipping line Peninsular & Orient Steam Navigation Company, and may have been one the first Australian passengers in 1932, as the remnant of label on the base reads Sydney. The owner later voyaged under the company’s new name of P & O. and travelled from at least one of the voyages from Melbourne to London The square label, with “P & O” and red printed “M” in centre of circle, refers to alphabetical organisation of baggage by surname, connecting the owner ‘G.M.’ to the owner’s voyage with P & O. The P & O shipping line’s early beginnings started with the partnership of London ship broker Brodie McGhie Willcox and Scottish sailor Arthur Anderson in 1822. The partnership was joined by Irish shipowner Captain Richard Bourne in 1835 and they began operation as the Peninsular & Orient Steam Navigation Company with a service between London- Spain - Portugal. In 1932 the company expanded to include Australia with its passenger services departing from Sydney; in 1840 the company was incorporated. After various take-overs of other shipping lines and businesses, it operated under the name P & O. JOHN BRUSH The hat box was made by Australian saddle designer and maker, John Brush, Sons & Co. Brush began his saddlery trade in Roma, Queensland, His designing process included consulting with the men who rode and worked the horses. He was described in the Sydney Morning Herald of December 15, 1897, as a leading Sydney saddler, well known and reliable, with every kind of English and Australian saddle on view. John Brush established his business in 1840, operating from 371 George Street Sydney. A catalogue from that era jointly advertises John Brush (371 George Sty Sydney) and Butlers & Brush (432-4 Queen Street Sydney), both under the name of Edward Butler & Co. Pty. Ltd. The catalogue included saddlery, harness equipment, riding wear and travel goods, and strongly promoted the Wienkek made saddles, which he distributed Australia wide. John Brush, So & co. advertised its ‘new’ address in 1887, as 403 George Street Sydney. In 1898 Brush made a side-saddle for a customer, a design popular with gentlewomen of the era. The business was still operating over 100 years later, producing a catalogue in the 1950s.This early 20th century hat box is significant for being one of a kind in our Collection. Its fitted design shows the shape of the hat, dating it from the 1920s men’s fashions. The hat box is significant for being a high quality hat box made in Sydney, Australia by prominent and successful early colonial saddler and leather goods business, John Brush, Son & Co. The labels on the outside of the hat box are also significant, representing the prosperous lifestyle of an Australian traveller who purchased quality goods and cared for them. The traveller was able to depart from firstly the Port of Sydney and later the Port of Melbourne. Hatbox, oval shape, brown leather, strong, sturdy construction, six pieces, and metal lock on base. Wide lid, then tapers to a narrower base that has a red leather trim. Brown velvet fabric lining inside and covers some accessories. Other internal accessories are trimmed with plain red paper and blue and white striped paper. The lid has two attached leather tabs and a leather handle and underneath it has a drawstring liner and oval, gold-lettered maker’s label. The internal oval box has a leather retention strap and brim support. Separate moulded brim support is included. A detached leather strap with catch is inside the base. Inscriptions are stamped on the lid, printed on the maker’s label, attached as printed paper labels to the lid, sides, and under the base. Maker is John Brush, Son & Co. of Sydney. The owner’s initials “G.M” are embossed on the lid.Stamped on lid “G. M.” Label, oval, inside lid “JOHN BRUSH, SON & CO. / MANUFACTURERS & IMPORTERS / of / SADDLERY AND HARNESS / 403, GEORGE ST. / SYDNEY” Label, paper: “BAGGAGE, MELBOURNE TO LONDON’, part of word ‘CABIN’ and “P & O” Label, square, white background, black print, circular emblem: ‘PE - - - - - & ORIEN-’, ‘STEAM NAVIATION COMPY.’ BAGGAGE’ and a red printed “M” in centre of circle. Label, rectangular, white background, black print; narrow line border, text in rows and an ‘X’ overprinted, from corner to corner of the border: “BAGGAGE / P. & O. S. N. Co. / MELBOURNE / To / LONDON” Label, paper, rectangular, white background, black print, an “X” across the label: “CABIN / P & O / “ Label, paper, on base, “– aid” [Paid], “SYDNEY” flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, hat box, leather hat box, vintage hat box, top hat, homburg hat, derby hat, travel ware, luggage, leather goods, travel goods, clothing accessory, men’s clothing, john brush, son & co, saddler, sydney firm, peninsular & orient steam navigation company, p & o, g.m., melbourne to london, sydney port, melbourne port, hat case -
Flagstaff Hill Maritime Museum and Village
Audio - Gramophone Cylinder, National Phonograph Co, Poor old England, 1908
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder contained Record no. 13619, the recording “Poor old England” published by Castling and Godfrey, sung by Billy Williams. Made by National Phonograph Company USA. C.1907On lid “Edison Record” and “This record should turn at 160 revolutions per minute, no faster” Written on lid in blue pen “Trumpet”, “EDISON AMBEROL RECORD / FOUR MINUTE”warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison -
Flagstaff Hill Maritime Museum and Village
Audio - Gramophone Cylinder, B & H Jack, 1907
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder contained Record no. 49, “B & H Jack” and was made at the Edison Laboratory USA. C. 1905On lid “Edison Record No. 49”, written in pencil “B & H Jack” (it looks like this) On cylinder “EDISON GOLD MOULDED RECORDS ECHO ALL OVER THE WORLD” Patents listed for 1904 & 1905warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison -
Federation University Historical Collection
Letter - Correspondence, Letter on Bendigo United Pyrites Company Letterhead, 1898
"The United Pyrites Company's Works are situated about three quarters of a mile from Spargo Brothers, and are on the northern side of the Marong road, in Pinch-gut Gully. Two processes are followed at these works, viz., the amalgamating process and the treatment by means of chlorine gas. The latter is called the Newbery-Vautin system, and the mode pursued is that laid down by Mr. Cosmo Newbery and Mr Vautin, whose names have been given to the process. Mr. Edwards manages these works. Three reverbatory furnaces are used to roast the pyrites, which is weighed in the truck before being put into the furnaces. At this weighbridge a sample of each lot is kept, and if the yield is not equal to expectation, the works are carefully gone over to see where the fault occurs. Care is taken at the furnace to regulate the heat, otherwise the pyrites might slag instead of roasting evenly right through. An immense revolving furnace (made of boiler iron) was used at these works. It was found to be suitable for treating blanket sand, but was not a success for roasting coarse pyrites. The process of amalgamating by means of Chilian mills is the same in these works as at the Western Works, but the United Works are on a larger scale, and eleven mills are utilised. It is the chlorine gas process which is most interesting here. The gas is made from sulphuric acid, black oxide of manganese, and common salt, and the gas is introduced into huge vats, where it works its way through a filter of pieces of quartz and then through the bed of roasted pyrites lying above. The action of the gas transforms the gold into chloride of gold. This is easily dissolved in water, and in that form is drawn off into huge delf jars, where the use of sulphate of iron precipitates the gold to the bottom. A small battery—eight head of stamps in two boxes—is in use here to crush small consignments of stone sent for trial. Test crushings come from all the Australasian colonies, and even from India. The jars used are manufactured at Epsom, and some of the salt used is also of home manufacture, from the Salt Lakes on the Northern plains. Mr. Edwards took us over a new building in course of erection, and in which the chlorine gas is to be generated in the midst of the pyrites— a still further advancement in the new process. There is some very good machinery in this new building, and the tailings from the ordinary pyrites works will also be treated by this chlorine gas system, which has been found to work well at Mount Morgan, in Queensland. The purest of gold is obtained by this process, the gold passing in solution into a charcoal filter, from which it emerges in the shape of metallic gold. We saw some nice cakes of retorted gold at the works. One of 26oz. was from some New Zealand pyrites (2½ tons), and assayed over 23 carats. There were also cakes of Avoca gold, of silver, and of the tremulous amalgam." (The Argus, 4 February 1887)Two handwritten letters to the Ballarat School of Mines on Bendigo United Pyrites Company Letterhead.bendigo united pyrites company, pyrites, ballarat school of mines, j.j. deeble, joel deeble, joel james deeble, a.m. dean, fred j. martell, martell, s.h. cowan, letterhead -
Flagstaff Hill Maritime Museum and Village
Gun Emplacement, 1890's
The Warrnambool Battery on Flagstaff Hill has embankments for 3 guns. Those on the left and right still have cannon in place but in the centre is an empty embankment, apart from this concrete ring with metal threaded studs. In 1898 a 5 inch breech loading gun (BL) was installed here. The gun had a hydro-pneumatic disappearing carriage (hence the sign on the concrete wall "5" BL HP").. This type of gun was faster to load and fire that the 80 pound RML’s installed on either side of it. Its arrival spelt the end of the 80 pound RML guns’ useful life, although they continued to be used for practice sessions. The 5 inch BL was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance. It was removed in 1904 and recalled to Melbourne in 1910. The gun emplacement ring is all that remains of the mounting for a 5 inch Armstrong rifled breech loading gun. HISTOR of the WARRNAMBOOL GUNS & CANNON In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. The cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) These two 80pdr cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was the 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage and installed in this very concrete base or pad. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War One the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were originally manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens. It is now mounted on a replica carriage due to the original carriage being in a fragile condition (the original carriage stored under cover at Flagstaff Hill). (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. It is still mounted on its original wooden garrison carriage. Its wooden slide compressor mechanism is fragile and now kept in Flagstaff Hill’s storage. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria [references; Flagstaff Hill Maritime Village interpretation boards, information sheets and other documents; South Western Victoria Guns and Cannon report, May 2008, ref W/F/08] The Gun embankment is contained within the heritage listed Lady Bay Lighthouse Comples, on the Victorian Heritage Register VHR H1520. The gun emplacement base is evidence of the last defences installed on this stretch of coastline. The Warrnambool Garrison has been added to the Victorian Heritage Register H1250 “for its intact battery and guns, a strong reminder of Victoria’s wealth and determination to protect itself from the perceived threat of invasion in the 1880’s.” The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. Gun emplacement; the remains of the mounting platform of a temporary third gun installed in 1898 in the centre of the battery. This consists of a circular concrete well or sump surrounded by two rings of mounting bolts, the inner of 10 and the outer of 20. The base once held a 5 inch Armstrong rifled breech loading gun with hydro-pneumatic disappearing. In the centre of the ring on the ground is a keyhole shaped space. The gun was removed in 1904. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, colonial defences, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, warrnambool volunteer corps, ordinance, armaments, cannon hill fortifications, flagstaff hill fortifications, 4th australian light horse regiment, garrison gun, 5 inch breech loading gun, emplacement for hydro-pneumatic disappearing carriage, gun emplacement -
Flagstaff Hill Maritime Museum and Village
Photograph, Vessels in the bay, 1890's
The photograph, taken in the 1890s, shows sailing ships and a wreck in Lady Bay, Warrnambool. Lady Bay was once a very busy port of trade in Warrnambool and was also called the Port of Warrnambool or Warrnambool Harbour. ENTERPRISE (1847-1850) NOTE: The “Enterprise” wrecked in 1850 in Warrnambool should not be confused with John Pascoe Faulkner’s ‘Enterprise’, which was wrecked in NSW in 1847. The 58-ton schooner Enterprise was built by David Hay in Waiheke, New Zealand in 1847 and registered by owners John Watson and Edward Byam in Melbourne, Australia. She was a single-deck sailing ship with two masts, used for carrying cargo such as local agricultural produce and general commodities between Melbourne and other colonial ports. On September 14th, 1850 the Enterprise had sailed from Melbourne under the control of the ship’s Master, James Gardiner Caught, and was moored in at the Tramway Jetty in Lady Bay, laden with wheat and potatoes. The vessel rode out a south-easterly gale but eventually dragged anchor and was beached, bow first and then broadside. Buckwall, a local indigenous man, braved the heavy surf and reached the stricken vessel with a rescue line, saving all five crew on board. There were no passengers on board. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area has become the location of Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). The Warrnambool Wreck Enterprise is listed on the Victorian Heritage Database VHR S238. DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story, “…the Enterprise, wrecked in Lady Bay, Warrnambool in 1850 ... was soon covered by sand but was exposed again after several storms in 1887. “Samples of timber were then cut from the wreck, which would then have been buried for 37 years. In November 1887 the Warrnambool Standard reported that “the timber looks sound and hard, a penknife scarcely making any impression.” “For many years there was confusion about the identity of that ship in Lady Bay. Most people believed it was the wreck of John Pascoe Fawkner’s Enterprize, which had sailed from Tasmania to Victoria bringing the pioneer settlers to Melbourne in 1835. “In fact, as I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [Enterprise], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “In 1985 a piece of timber from the local Enterprise, which had been kept at the Warrnambool Museum since 1892, was identified histologically as a New Zealand timber, not Tasmanian timber such as blue gum, from which Fawkner’s Enterprize would have been built in 1830. This confirmed the identity of the Warrnambool Enterprize.”[Dr. M.W. Johns later wrote an article called “The Schooner Enterprise: A Final Word on a Historic Wreck.”] ABOUT THE S S EDINA The three-masted iron screw steamer SS Edina was built in Glasgow, Scotland, in 1854 by Barclay and Curle. She was adorned with the figurehead of the ‘fair maid of Judea’. The many years of service made SS Edina famous worldwide as the longest-serving screw steamer. (The term screw steamer comes from being driven by a single propeller, sometimes called a screw, driven by a steam engine.) SS Edina’s interesting history includes English Chanel runs, serving in the Crimean Ware carrying ammunition, horses and stores to the Black Sea, and further service in the American Civil War and later, serving in the western district of Victoria as well as in Queensland and carried gold, currency and gold prospectors Australia to New Zealand. SS Edina had the privilege of being an escort vessel to H.R.H. the Duke of Edinburgh during his visit to Australia in 1867. In March 1863 SS Edina arrived in Port Phillip Bay, Melbourne and was bought by Stephen Henty, of Portland fame, to work the cargo and passenger run from Melbourne – Warrnambool – Port Fairy - Portland. After a short time of working the run from Australia to New Zealand, with passengers and cargo that included gold and currency, she returned to her Melbourne - Warrnambool – Port Fairy run, with cargo including bales of wool produced in the western district of Victoria. The Warrnambool Steam Packet Company purchased SS Edina in 1867; she was now commanded by Captain John Thompson and Chief Engineer John Davies. She survived several mishaps at sea, had a complete service and overhaul and several changes of commanders. In 1870 SS Edina was in Lady Bay, Warrnambool, when a gale sprung up and caused a collision with the iron screw steamer SS Dandenong. SS Edina’s figurehead was broken into pieces and it was not ever replaced. SS Edina was re-fitted in 1870 and was then used as a coastal trader in Queensland for a period. She was then brought to Melbourne to carry cargo and passengers between Melbourne and Geelong and performed this service from 1880-1938. During this time (1917) she was again refitted with a new mast, funnel, bridge and promenade deck, altering her appearance. In 1938, after more collisions, SS Edina was taken out of service. However, she was later renamed Dinah and used as a ‘lighter’ (a vessel without an engine or superstructure) to be towed and carry wool and general cargo between Melbourne and Geelong. In 1957, after 104 years, the SS Edina was broken up at Footscray, Melbourne. Remains of SS Edina’s hull can be found in the Maribyrnong River, Port Phillip Bay. This photograph is significant for its association with the screw steamer SS Edina, heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest-serving screw steamer in the world. After spending her first nine years overseas she arrived in Melbourne and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The SS Edina was purchased in the late 1860s by the local Warrnambool business, the Warrnambool Steam Packet Co. and continued trading from there as part of the local business community. Her original ‘fair maid of Judea’ figurehead was broken to pieces in a collision with another vessel (the SS Dandenong) in a gale off Warrnambool, Victoria, in 1870. The photograph is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand-built but Australian-owned coastal trader. The wreck was also significant for its association with the local indigenous hero, Buckawall, who saved the lives of the five crew on board. Photograph "Vessels in the Bay". Black and white photograph of several vessels in Lady Bay, Warrnambool, including some small vessels and "S.S. Edina", the "Peveril" and "Tommy", plus the remains of the wrecked vessel "Enterprise" in the foreground. Photograph is mounted on beige card with label describing the vessels, plus pencilled vessel names. There are several pin holes in each corner of the photograph. Typed label under the photograph “VESSELS IN THE BAY – “EDINA” “PEREVIL” AND “TOMMY”. / REMAINS OF “THE ENTERPRISE” IN FOREGROUND. (Also crossed out on the label “FIRST VESSEL TO SAIL UP YARRA RIVER). In pencil script above the vessels on the photograph “S.S. Edina”, “Peveril” “Tommy”. On the reverse is a printed sticker with “F-Ph 59/2 74”, red felt-tip pen “88”, green pen script repeating the text that is under the photograph on the front.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enterprize, port of warrnambool, warrnambool harbour, peveril, tommy, ss edina, lighter dinah, warrnambool steam packet company, lady bay, pleasure steamer, edina, trade, travel, screw ship, coastal trader, cargo, victoria, buckawall, indigenous rescue, indigenous hero