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Port Melbourne Historical & Preservation Society
Archive - Heritage History Festival, 1990 - 1991
File 09 - Heritage History Festival, displays, planninglocal government - city of port melbourne, built environment, families, celebrations fetes and exhibitions, domestic life, industry, recreation, sport, pat grainger, jill dawson, wendy morris, vintage port - worth preserving project 1991 -
Port Melbourne Historical & Preservation Society
Audio - Favourites from the PMHPS collection, 23 Jan 2012
Collection Team Members displaying their favourite items from the CollectionDuration 01:27:44celebrations fetes and exhibitions -
Port Melbourne Historical & Preservation Society
Poster - Port Melbourne Festival event, Pat Grainger, Feb 2001
Displayed to advertise the 1940s-1950s Postwar exhibition at the Freemasons Hall 24-25 March 2001.Poster for 2001 Port Melbourne Festival event: "Every time the Historical Society puts on a Back to Port exhibition, people complain." A3, black on pale violet, one-off only.celebrations fetes and exhibitions, port melbourne historical & preservation society, pmhps -
Port Melbourne Historical & Preservation Society
Photograph - Community Day, Mission Arts Centre, Missions to Seamen buiding, Port Melbourne, Alison Kelly, Dec 1987
One of thirty photos taken by Alison Kelly at the Mission Arts Centre, late 1980s, early 1990s. Some with captions. Many have copies already in collection. Community Day at the Mission Arts Centre, December 1987: Union banners and anti nuclear displayDetails on back in pencilmissions to seamen, arts and entertainment, celebrations fetes and exhibitions, public action campaigns, mission arts centre, harry bocquet, brian couldrey -
Port Melbourne Historical & Preservation Society
Photograph - Port Melbourne Festival, Edwards Park, David Thompson, 23 Feb 1997
From a series of colour photos taken in Edwards Park at the 1997 Port Melbourne Festival: PMH&PS stall and display from Liardet Street - left, Ted Kobelt and at Grainger; centre, rear - Glen Cosham and Johnny Maycelebrations fetes and exhibitions, ted kobelt, pat grainger, glen cosham, john may -
Port Melbourne Historical & Preservation Society
Photograph - Port Melbourne Festival, Edwards Park, David Thompson, 23 Feb 1997
From a series of colour photos taken in Edwards Park at the 1997 Port Melbourne Festival: PMH&PS stall and display, Liardet Street in backgroundcelebrations fetes and exhibitions -
Port Melbourne Historical & Preservation Society
Photograph - PMHPS stall and historical display, Community Day, Gasworks Park, 5 Apr 1998
We were asked to prepare a historical display for the day so Lois Daley set up a sales stall to go with it.Port Melbourne Historical & Preservation Society stall and historical display at April 5 1998 Community Day, Gasworks Park: Lois Daley and friendcelebrations fetes and exhibitions, societies clubs unions and other organisations, lois daley, port melbourne historical & preservation society, pmhps -
Port Melbourne Historical & Preservation Society
Photograph - PMHPS stall and historical display, Community Day, Gasworks Park, 5 Apr 1998
We were asked to prepare a historical display for the day so Lois Daley set up a sales stall to go with it.Port Melbourne Historical & Preservation Society stall and historical display at April 5 1998 Community Day, Gasworks Park: the displaycelebrations fetes and exhibitions, societies clubs unions and other organisations, lois daley, port melbourne historical & preservation society, pmhps -
Port Melbourne Historical & Preservation Society
Document - Photocopy, 'Push's' of Port and South Melbourne, Vigilante of Port Melbourne, 1988
Photocopied from retyped article from ? which was prepared for display at Seamen's Mission heritage exhibition; from collection of Fred WINDUSSPhotocopied page relating to the 'Push's' of Port and South Melbourne and their associated hotels, including information on vigilante groups and a listing of the hotels in Port at the time it was typed.Corrections to the names of Baines and Derham and the number of hotels, in red pencilhotels, crimes and misdemeanours, societies clubs unions and other organisations, frederick robert winduss, vandalism -
Port Melbourne Historical & Preservation Society
Document - Incomplete list of people in City of Port Melbourne 'wake' photograph, Pat Grainger, Feb 1995
The photo was commissioned by the City of Port Melbourne and shot by photographer John KIRBY from the height of a cherry picker positioned beside the former Quinn's Hotel. Put on exhibition at various festivals for identification of those in photo.Mounted list, prepared for display with amalgamation wake photo with each person numbered on an acetate overlay, to be filled in to identify the approx 280 people in the amalgamation wake photoport melbourne town hall, celebrations fetes and exhibitions, amalgamation, john kirby, local government - city of port melbourne -
Port Melbourne Historical & Preservation Society
Photograph - Bellion's Grocery, Stokes Street, Advantage Copying, 1881
Copied from print made for Margaret Bride, great grandaughter of Benjamin Bellion,by her son who holds the original. (See also 665) Display assembled for Then and Now exhibitions by the Society.Bellion's Grocery at 175 Stokes Street c1881, with staff, horse and cart - black and white laserprint from black and white copy photo (See also 431 and 665)william j bellion, benjamin bellion, business and traders - grocers and supermarkets, built environment - commercial -
Victorian Interpretive Projects Inc.
Cartoons, World War One Cartoons by Edwin Cannon
Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1 -
Churchill Island Heritage Farm
Photograph - Photograph of standing woman
Churchill Island Heritage Farm has a large collection of photographs dating from the nineteenth century. The woman in this photograph is Sally O'Neill. The Special Projects officer for Phillip Island Nature Parks, Sally stands in front of the new interpretive exhibitions at the newly opened Churchill Island Visitor Centre in 2001.Photograph of a woman standing in front of a Visitors' Centre display for Dr Harry Jenkinscatalogue number written on reverse in pencilchurchill island, photograph, sally o'neill -
Churchill Island Heritage Farm
Photograph - Photograph of small art exhibition with people
Churchill Island Heritage Farm has a large photograph collection.Colour photograph of displayed landscape photographs of different aspects of Churchill Island with three people gathered around the stand. In the background, there are multiple other paintings of Australian scenery.MPAINT 4 VOLS 100 Catalogue number written on reverse in pencil churchill island, photograph -
Ithacan Historical Society
Photograph, Stathi Raftopoulos' home cinema, c1960
Stathi Raftopoulos is pictured at his home cinema at his residence in Sylvander Street North Balwyn. In 1949 Stathi Raftopoulos imported the first Greek film into Australia, entitled 'Voice of the Heart'. It was screened at Nicholas Hall in Lonsdale Street. Stathis went on to become a travelling picture show man showing Greek films to the Greeks in regional centres around Australia. He later established a film distribution and exhibition company, The Cosmopolitan Motion Pictures, in partnership with Mr Panayioti (Peter) Giannoudis. With the advent of television in the 1950, former suburban picture theatres were being closed down. Stathi and Peter took over many of these cinemas to show imported Greek films to the post WWII burgeoning Greek community.A coloured photograph of a man seated on a red theatre seat in a home cinema. Posters, photographs and film memorabilia are displayed on the three surrounding wallsWritten on the back : 520/BAhome theatres, greek movies -
Geoffrey Kaye Museum of Anaesthetic History
Handle, Laryngoscope, Longworth fitting
This object was displayed as part of the temporary Mask-Inhaler Exhibition during the Geoffrey Kaye Symposium, 29-30 January 2013.Laryngoscope penlite handle for infant Longworth fitting blades use, with a serrated grip on battery deposit, no batteries included. Top handle fitting screw is present. Minor scratches and hit marks are present over its surface. It has stamped the trade mark and place of manufacturing.Stamped on the top handle attachment place, REGD TRADE MARK / PENLON / [M] ADE IN ENGLANDhandle, penlon, longworth fitting handles, infant size handle -
Ararat Gallery TAMA
Functional object, Sandawara Ningyo, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981This toy is a product of Tottori City, and its only connection with traditional packaging is that it copies the mats used to close the straw bales in which rice is packed for the market. It is interesting, nevertheless, for its clever use of such a cheap and common material, and there is no denying its charm. The two dolls, made of paper and wood, represent the emperor and empress who occupy the chief places in the traditional Doll Festival display. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Port Melbourne Historical & Preservation Society
Photograph - James Conder's journals, Glen Stuart, Aug 2008
Photographed at the home of owner Elizabeth Cromb, granddaughter of James Conder. The other set of journals is in the Australian National Maritme Museum, Sydney. Displayed in 'Navy in Port' exhibition Aug/Sept 2008From a group of items re ártist, poet and four-navy veteran James Conder 1872-1954: digital photograph of one of two copies of two illustrated and handwritten journals which Conder made for his family, 'Únder Sail' and 'Únder Steam'armed services - navy, transport - shipping, james bryance conder, australian merchant navy, royal navy squadron, victorian navy, australian navy -
Port Melbourne Historical & Preservation Society
Functional object - Trolley, Shopping jeep
... . Displayed at the heritage exhibition, Seamen's Mission, 1988.... to Barbara NUGENT by local male resident in 1980s. Displayed ...Given to Barbara NUGENT by local male resident in 1980s. Displayed at the heritage exhibition, Seamen's Mission, 1988.Hand-made shopping trolley (or jeep). Construction: wooden frame, three-ply metal arms, wooden handle, rear cloth pocket, pram wheels, metal foot plate with Dunlop "kromhyo" kick plate, metal bands top and bottom. (Ref item 15)domestic life, barbara nugent -
Port Melbourne Historical & Preservation Society
Photograph - Bellion's Grocery, Stokes Street, Advantage Copying, 1881
Copied from print made for Margaret Bride, great grandaughter of Benjamin Bellion,by her son who holds the original. (See also 665) Display assembled for Then and Now exhibitions by the Society.Bellion's Grocery at 175 Stokes Street c1881, with staff, horse and cart - colour laserprint from black and white copy photowilliam j bellion, benjamin bellion, business and traders - grocers and supermarkets, built environment - commercial -
Port Melbourne Historical & Preservation Society
Mixed media - Passages Exhibition CD-ROM, Pat Grainger et al, 2017
The Passages exhibition looked back to Port Melbourne in the 1970s when the make-up of the Council changed and the Greek community became even more a part of life in Port. This CD covers the valuable contribution made by the members of the Greek community who came from Greece to make Port Melbourne their home.CD-ROM containing information relating to the Passages Exhibition launched at Port Melbourne Town Hall, 28 Aug 2017. The disc includes family stories, working documents, photographs of display items, photographs taken during the launch, Powerpoint presentation prepared by John Kirby and display panels prepared by Pat Grainger.pat grainger, jill dawson, john kirby, greek community, celebrations fetes and exhibitions -
Port Melbourne Historical & Preservation Society
Card - Binder, Piers Festival, Polly Woodside Maritime Museum, c. 1990
These migrant ship cards were used loose by the former Maritime Museum (Polly Woodside), and donated to PMHPS by A Gibson, National Trust Victoria, bound in January 2013 for use in the PMHPS display on migrant ships in Princes Pier GatehouseOne of three sets of laminated information cards, punched and roughly bound into a book for information display at "Piers festival". (.01) - "Angelina Lauro" to "Esperance Bay" (.02) - "Fairsea" to "Moreton Bay" (.03) - "Northern Star" to "Stathmore"The backs of the cards are pasted with sections of nautical maps.transport - shipping, immigration, celebrations fetes and exhibitions, angelina lauro, arcadia, australis, canberra, captain cook, captain hobson, castel felice, chusan, dominion monarch, ellinis, esperance bay, fairsea, fairstar, fairsky, galileo galilei, suglielmo marconi, himilaya, iberia, johan van olden barnevelt, largs bay, maasdam, mariposa, moreton bay, northern star, orion, oriana, oronsay, ormonde, orsova, otranto, patris, roma, southern cross, stathaird, statheden, stathmore -
Port Melbourne Historical & Preservation Society
Photograph - J Kitchen & Sons, Port Melbourne, 1920s
Two black and white photographs from J Kitchen & Sons .01- ten girls in front of display"Kitchen's Electrine Candles" . Girls stand behind a wire fence barricade .02- Main office J Kitchen & Sons showing rows of tall desks in large room with mezzanine..02- Main Office BLDG No 34. Ground floor looking towards Ingles St entrance. "Kerr Bros Commercial photography"industry, manufacturing, workers, celebrations fetes and exhibitions, j kitchen & sons pty ltd -
Port Melbourne Historical & Preservation Society
Programme - Exhibition guide to "Cabinets of Wonder- Extraordinary Collections of Ephemera", Minimo Cozzolino, "Cabinets of Wonder- Extraordinary Collections of Ephemera", Unknown
The Swallow & Ariell promotional postcards had featured in aprevious Ephemera Society newsletter, and were requested for this event.Exhibition guide to "Cabinets of Wonder- Extraordinary Collections of Ephemera", an Ephemera Society event held at the Royal Historical Society in which Italian Swallow & Ariell postcards from the PMHPS collectionwere displayed in 2016exhibitions, mandy bede, minimo cozzolino -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, Prior to 1878
This tablespoon was recovered from the wreck of the Loch Ard that sailed from Gravesend, London. The manifest listed an array of manufactured goods being exported to the Colony of Victoria. Included in the cargo manifest was a large number of hardware and cutlery items. These spoons are representative of similar items of silver electro-plated cutlery salvaged from the Loch Ard wreck site, comprising nickel silver electroplated spoons and forks of various sizes but all sharing the same general shape and design. History of the Loch Ard: - The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Spoon, tablespoon; nickel silver plated. Inscriptions stamped on the back of the handle. It was recovered from the wreck of the Loch Ard.Stamped images inside shapes of Diamond!, Square, Square with cut corners, Oval and Siamondflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, petrified timber, conglomerated cutlery, silverware, dining utensil, spoons, conglomeration of spoons, spoon, tablespoon, cutlery -
Flagstaff Hill Maritime Museum and Village
Domestic object - Fork, Prior to 1878
This fork was recovered from the wreck of the Loch Ard that sailed from Gravesend, London. The manifest listed an array of manufactured goods being exported to the Colony of Victoria. Included in the cargo manifest was a large number of hardware and cutlery items. These spoons are representative of similar items of silver electro-plated cutlery salvaged from the Loch Ard wreck site, comprising nickel silver electroplated spoons and forks of various sizes but all sharing the same general shape and design. History of the Loch Ard: - The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Fork, nickel silver plated spoon with Fiddle-back design handle, narrow stem with flared collar. Handle has maker's marks underneath. It was recovered from the wreck of the Loch Ard.Shapes of Drown, Oval, Square, Circle and Diamondflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, silverware, cutlery, dining utensil, fork, dining fork -
Wodonga & District Historical Society Inc
Book - The Hume Dam: 100 Questions for a Centenary, Howard C Jones, 2019
A booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020."non-fictionA booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020." hume dam, dams -- new south wales, hume dam history, dams -- new south wales -- design and construction -
Melbourne Legacy
Programme - Document, Exhibition of War Sketches by Lieutenant Daryl Lindsay (H34), 1919
A programme of an art exhibition of 77 pieces of artwork by Lieutenant Daryl Lindsay in 1919. The Introduction was written by the war correspondent CEW Bean. Mr Lindsay's connection with Legacy is not known. A legatee Ray W___ donated this copy of the exhibition programme and the original of the cover print and a watercolour 'The road to Poperinghe' to Legacy in October 1984. At one stage they were in the Comradeship Room. As at December 2019 the original of the cover print is on loan to the Shrine of Remembrance and on display. The caption at the Shrine reads," 'Soldier'1918 by Daryl Lindsay (1889-1976). Daryl Lindsay was appointed an official war artist in 1917. He had worked as a batman for his brother-in-law Will Dyson, also an official war artist, from the end of 1916. Lindsay's sketches documented the facial injuries of soldiers, in order to assist then plastic surgeons undertaking facial reconstruction at Queen Mary's Hospital in Sidcup, Kent. His artistic skills led to his appointment as an official medical artist at the hospital in 1918." The notation H34 in red pen shows that it was part of an early archive project that was trying to capture the history of Legacy. A soldier put together artwork about World War One and exhibited it in Melbourne in 1919. Later two of his artworks were donated to Legacy.Dark brown cover with cream insert of a sketch of a solider. Coffee coloured pages x 6 with navy text held in place by a bronze colour thread.Handwritten H34 in red pen. Handwritten inside front cover a note added in 1984 about the donation of a original artwork to Legacy. "Presented to Melbourne Legacy by Legatee Ray W___ on Founders Day 25 Sept 1984 with the original of the cover print and water colour "The Road to Poperinghe", both hung in Comradeship Room October 1984."history, world war one, daryl lindsay -
Melbourne Legacy
Photograph - Photo, Launch of Legacy Week - 3rd September 1990 - Aviation art exhibition, 1990
Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. A newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Guests included Bud Tingwell, who flew for the RAAF in World War 2 and other RAAF personnel. It appears to have included a heritage display from the Royal Australian Air Force Museum at the same time. The article is at 01522 also see media release at 01521, more photos of the paintings and guests are in 01524. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Was in a scrapbook of photos spanning 1987 to 1991.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Colour photo x 6 of an art exhibition for Legacy Week in 1990.legacy week, paintings, planes, warplanes, promotion -
Melbourne Legacy
Photograph - Photo, Launch of Legacy Week - 3rd September 1990 - Aviation art exhibition, 1990
Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. A newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Guests included Bud Tingwell, who flew for the RAAF in World War 2 and other RAAF personnel. It appears to have included a heritage display from the Royal Australian Air Force Museum at the same time. Unfortunately the artist died a few weeks after the exhibition and launch of his book. The article is at 01522 also see media release at 01521, more photos of the paintings and guests are in 01523. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Was in a scrapbook of photos spanning 1987 to 1991.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Colour photo x 9 of an art exhibition for Legacy Week in 1990.legacy week, painting, promotion, planes, warplanes