Slawa built the umbrella using existing and modified umbrella parts purchased from manufacturers and other sources with the idea to develop a more practical umbrella. At the time Slawa was a student studying sculpture at the Akademie der Bildenden Kunste Wien (Academy of Visual Arts). She spent many months developing the prototypes in secret before she applied for and received a patent on 19 September 1929. The patent documentation for Flirt noted that although foldable umbrellas with telescopic shafts were not new, the inventor's umbrella was a significant improvement as it was smaller and more practical as the folding mechanism had been considerably simplified. The umbrella was included in the Inventors’ pavilion at the Vienna Spring Fair in 1931. In a contemporary newspaper report it was described as ‘the magic umbrella of the sculptress’. After the design was granted a patent, it was contracted to the firm Basch and Braun, which authorized its manufacture under licence by the largest Austrian umbrella manufacturer in Austria Bruder Wuster and a German firm Kortenbrach und Rauh. It was called Flirt. In the first year of production sales reached 10,000. This number increased steadily each year as sales spread throughout Europe and the Flirt umbrella was still being produced in the post-war period. Slawa was paid royalties till 1938, the year that she left Vienna and fled to Switzerland. In 1939 with pressure from the Nazis she sold her rights to the company Bruder Wuster. Ann Carew 2016The umbrella prototypes have national and international aesthetic significance as examples of technological innovation in industrial design. The archive has national and international scientific and research potential – detailed records concerning the development of the design, patent and its manufacture are held in the studio. The archive demonstrates the links between the realms of fine art, industrial design and manufacturing in Vienna in the early twentieth century. The sale of Slawa Horowitz-Duldig’s rights to the umbrella under duress from the Nazis makes this archive historically significant. The provenance is excellent, and the prototypes and accompanying documentation have national and international interpretative potential. Ann Carew 2016Three handmade compact foldable umbrella prototypes. The prototypes have black silk covers, a metal shaft, handle, ribs and ferrule. The shaft has a telescopic mechanism. The top and the end of the handle are metal disks. The related documents, designs, patent documentation, a hand written record of her inspiration for the design, and other archival material are also held in the Studio’s Collection.

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

This conglomeration of tablespoons is from the wreck of the Loch Ard, which sailed from Gravesend, London 1878. 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 & cutlery items. The spoon is 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. Some of the pieces display their makers’ mark of William Page & Co Birmingham UK. Within the Flagstaff Hills cutlery collection donated from the Loch Ard, maker’s marks are often obscured by sedimentary accretion or verdigris after a century of submersion in the ocean. However sufficient detail has survived to indicate that the collection of samples of electroplated cutlery probably originated from the same cargo consignment from the Loch Ard and were made by William Page & Co. Of Birmingham England. William Page was born in 1811 and died in 1885. He was active as a manufacturer of cutlery from 1829 with premises at 74 Belmont Rd, Dales End as a "close plater" (someone who works sheet metal), and he began electroplating in 1855. William Page & Co was also active from 1880 at Cranemore St, Cattle’s Grove also 55 Albion St, Birmingham, and in 1936 the firm became an Ltd company. The firm used the trademarks "Asrista, Bolivian Silver, Silverite, Roman Silver, Romanian Silver, and Trevor Plate. In 1938 William Page was a supplier to the British Government, marking its products with the broad arrow symbol and was also present at Sheffield. (See additional notes note section this document for more information on Electro Plating and its makers marks.) 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 that 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 artifacts 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 artifact s from Loch Ard and its collection is significant for being one of the largest accumulation of artifact s from this notable Victorian shipwreck. The collection's 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 collection's historical significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Unrestored tablespoons from the wreck of the Loch Ard. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons are joined together by encrustation from the sea.William Pageflagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch ard, electroplated cutlery, birmingham brass plating, william page & co., spoon, tablespoon, conglomeration, tablespoons

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

Also known as the King George V memorial building this branch of the Mission to Seamen opened in 1937 as a replacement for the old Mission in Port Melbourne. The Foundation stone was laid by the Victorian State Governor and a photograph of the event is also held in the MTSV collection. The Art Deco style building was commissioned by merchant and philanthropist, Alfred Michael Nicholas (1881-1937) and designed by prolific Melbourne-based architect Harry A. Norris (1888-1966) in 1937 best known for his commercial work in Melbourne city centre. NB PMHPS Kindly allowed MTSV heritage to take scans of the Kelly series notes in their collection for reference in 2019.One of the few full colour images of this building originally classified by the National Trust and now demolished. An example of architect Harry Norris' work 1937. All that remains are a ceramic plaque, a brick and several items of chapel artefacts. Alison Kelly, a photographer, was part of the group supporting the Port Melbourne Seamen's Mission in the 1980s and 1990s. She took a series of photographs of the building now held by the Port Melbourne Historical and Preservation Society.Full colour Postcard featuring colour image of a large red brick building in a 1930s era Architecture. There is a green wrought iron gate ajar in the foreground with the word SEAMAN spelled out. MISSIONS TO SEAMEN can also be seen spelled ut in white across and down the central clock tower of the building and this is surmounted with a white flagpole.On verso: Printed: "Heritage Series / POST CARD " at right angles in small print from lwr edge to upper: "PHOTOGRAPHY BY ALISON KELLY PORT HERITAGE SERIES NO 6". At Lwr left crnr printed:" Missions to Seamen Building, Port Melbourne/ Designed in the Modern style by architect Harry Norris,/ this 1937 National Trust classified structure was until 1972 / an entertainment and spiritual centre for seamen, with / important roles during the war [WW2] and immigration periods"king george v, memorial chapel, harry a. norris, brick, art deco, alfred m. nicholas, beach street, mission to seamen, alison kelly, 1937, arts centre, seamen mission, mission to seafarers, port melbourne

This sideboard was from the home of Henry and Mary Jane Giles, who lived in Mailor's Flat, Wangoom, and Purnim West, Victoria, and is part of the many 19th century items of furniture, linen, and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles, and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student-teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat, and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Kauri Pine Mirror Backed Sideboard, two drawers and two doors to the base, the doors being carved in the traditional manner with a leaf design, brass swing handles are fitted to each of the drawers. The back has two shelves each supported on two turned columns, three mirrors are fitted into carved panels matching design as doors.The pediment is also carved in the same manner finishing with scrolled edges. Circa 1880. This item is part of the Giles Collection.Marked "Villa Rica" "Ambassadors" "Claro" "50" In pencilflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, sideboard, furniture, dresser, giles collection, henry giles, vera giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century furniture, purnim west, 1880s furniture

The Publications Committee were Ken McDougall, Kath Hayes, Brian Haig, Sue Tucker, heather Bell, Dawn Brown, Ian george, elizabeth Lemmon, Janette Leviston, Leah Harwood, Tony scanlon. Mal Wordsworth. Ian Walshe. The Year Book Committee were Carmel Keys, Judy Krahe, Jill Mayo, and Mr Ryan was the staff representative. The Students' representative council for 1959 were J. O'Neill, I. Ferguson, I. Jenkins, E.Davies, B. Matthews, M. Robinson, R. Cummings, B. Vandenberg, N. Wright, D. McKimmie, K. McDougall, D. Eldridge, N. Beacham, K. Ryrie, J. Rae and D. Wise. The social committee comprised R. Power, G. Briggs, D. Ryan, G. Wallace, V. Delbridge, S. Dawe, Miss Lloyd, Mr Bourke, R. Kelly, M. Grey, J. Cadzow, E. Davies, Monica Miller, G. Commons and F. Mason. A black and white soft covered magazine of the Ballarat Teachers' College. The cover design was by Doug Sheen. Articles include: education in North Borneo, Webster St Hostel, Gillies Street Girls Hostel, Victoria Street Hostel, Camp Street Hostel, Gillies Street Boys Hostel, Ex-Students' association, The Joys of caravaning, How to Spend One's Leisure, Ideas from the Design Club, Faces Behind the Wheel, Life's Bitterness, Characterization, Such is Life. ballarat teachers' college, margaret brown, ken mcdougall, kath hayes, brian haig, tom turner, k. mcdougall, noel beacham, norma mchenry, heather speedie, ted doney, north borneo, webster street hostel, victoria street hostel, students residences, . o'neill, i. ferguson, i. jenkins, e.davies, b. matthews, m. robinson, r. cummings, b. vandenberg, n. wright, d. mckimmie, d. eldridge, n. beacham, k. ryrie, j. rae, d. wise, r. power, g. briggs, d. ryan, g. wallace, v. delbridge, s. dawe, miss lloyd, mr bourke, r. kelly, m. grey, j. cadzow, e. davies, monica miller, g. commons, f. mason, camp street hostel, gillies street hostel

This copper penny token was issued in Geelong by ironmonger R. Parker. Richard Parker was an early settler in Victoria. He had a general store in Elizabeth Street, then Collins Street, Melbourne for five years before moving to Geelong in 1844. He soon established several branches of his ironmonger business in towns around Victoria. He encouraged trade by providing customers with the small change of penny tokens in exchange for their more valuable and less convenient silver coins. The token carried a surcharge and was overstamped with the mane of W. Kernot. William Charles Kernot was a chemist at Chillwell, Geelong. The token is of historical significance, representing a form of currency used in Australia's colonial era before Australia had official currency.Token coin; a round copper one penny token. Obverse had promotional text and a sketch and was overstamped with a name. Reverse had the image of a woman holding up a set of balance scales in one hand and a cornucopia in the other, standing beside the sea, with a three-masted sailing ship in the background, There is a formed hole in the metal; on the obverse, it is on the top of the design, on the reverse it is on the bottom of the design. It advertises R. Parker, Ironmonger, Moorabool Street, Geelong, overstamped with the name W. Kernot.Embossed on the obverse: "R. PARKER / IRONMONGER. / MOORABOOL STREET / GEELONG" "W. KERNOT" Embossed on reverse: "AUSTRALIA"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, medallion, coin, token, promotional medallion, one penny, r parker, ironmonger, moorabool street geelong, w. kernot, richard parker, currency, australian currency

In the 1953, the Show held a special Coronation Show in honour of the coronation of Queen Elizabeth II.A badge consisting of a badge attached to a pin, and an oval shape hanging from the bar. The base of the badge is gold with inserted colour in the obverse. The bar is rectangular with concave sides and red infill around text ("STEWARD"). The oval has a dark blue outline with gold text and a belt-design similar to the RASV Speed the Plough Logo. Inside the outline is mostly gold. The background is textured, and on top of that is a crown design with red colouring on the 'cushioning' and "E[II]R".[obverse bar] STEWARD [obverse oval] ROYAL MELBOURNE 1953 CORONATION SHOW / ER II [reverse oval] K.G. LUKE / MELB /1953 melbourne royal show, melbourne royal show, royal melbourne coronation show, queen elizabeth ii, badge, steward, officials, uniform

A wallpaper sample donated to the collection by Frances Alexandra (Frankie) Derham (1894–1987). Derham was an Australian artist and educator. A lecturer in art at the Melbourne Kindergarten Training College (1928-64) , she later taught at the Associated Teacher Training Institution (1949-61). Her commitment to `child art’ developed after 1935 when she accepted an invitation from Margaret Lyttle to teach at Preshil school.Frances Derham's collection of nearly ten thousand children’s drawings and paintings was acquired by the Australian National Gallery in 1976. Her interest in art for and by children is reflected in her donation to the Villa Alba Museum of an important and rare collection of early wallpapers designed for children's rooms. Sections of a longer nursery wallpaper roll purchased from a Melbourne retailer in the 1850s. The wallpaper depicts figures in an imaginary rural landscape. The central repeated image in this painterly design is a woman seated on a chair with a child playing at her feet. Farm animals include a white duck, a hen and a rooster. Other elements of the imaginative, playful design include a church, a Greek temple and a cart wheel. The sophisticated printing technique allows for subtle shading of the selected colourway.decorative arts & design, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- children's, frances derham

A collection of photographs, some not previously published, produced not in any kind of complete or historical sequence but as a pictorial journey into the past . Produced by members of the St.Arnaud Historical Society and with the help of those that loaned unseen old photographs. Compiled and researched by Jessie Cameron with compilation assistance and editing of the book by Ella Ebery. Published by the St.Arnaud Bi-centenial Committee First Edition 1988.This book has been provided for the citizens of St.Arnaud and district as well as the Australian public generally, as a tribute to past pioneers. The contents of this book will remain invaluable for untold years.Soft cover book St.Arnaud A Pictorial Journey. Compiled by Mrs Jessie Cameron and Mrs Ella Ebery. 88 pages Includes information and numerous black and white photographs relating to St.Arnaud .Published by St.Arnaud Bicentennial Committee.Printed by Creative Rural Printers 16-18 Napier St St.Arnaud 3478. First Edition 1988 Cover design : Napier Street St.Arnaud, 1925 by Leah Berry.book, photographs, st arnaud pictorial journey, jessie cameron, ella ebery, leah berry

Soft cover 104-page book of photographic prints of local Warrandyte scenery featuring flora and fauna with descriptive captions. Photography by Bill McAuley, Denise Illing and Bill Sandel; Artwork: Stephen Freeman, Fox Hole Design; Printed by: Courtney Colour Graphics; Proofreading: Cherie Moselen; Digital Imaging: Rob Kas.

Bendigo Pottery - a. Booklet (text by Eric Page - Mullaya Publication) - has good coverage of history of the pottery and sections relating to 'Bottle Kilns'', local clay' potter's skill, use of moulds, firing, ceramic tiles - includes photos and line sketches; b. Bendigo Trust flyer re pottery with tour times and summary of history on reverse side.A Mullaya Publication. Designed and published for Bendigo Pottery (Epsom) Pty Ltd., by Mullaya Publications, 17 Griotte Street, Canterbury, Victoria. Printed by Humphrey and formula Press. Line Drawings by Jan Neil.bendigo, tourism, bendigo pottery

Built c 1847 for Samuel Jackson. May contain examples of early prefabricated building materialscolour photograph, unmounted, good conditionstuck on the back with adhesive tape: Now used as a special accommodation, this gable-fronted house was designed and built in the 1840s by architect Samuel Jackson. It is believed to contain early examples of prefabricated building materials

The medallion was presented in 2005 by the Australian govt. to veterans who served in 1939- 1945. 2005 being the 60th anniversary of the end of WW2.Medallion in a presentation case with information relating to the issue. World War 2, 60 years, 1945 2005 Obverse depicts Commonwealth coat of arms, reverse design symbolises Navy, Army and Air Force through depiction of sea, land and air. 60th anniversary, ww2 service medal

Unclear when this likely souvenir would have been made, or the circumstances in which it wasacquired.Round metal and enamel keyringFront contains a Union Jack design, with gold coloured lines in between the various flag sections. Back contains the text: MADE IN ENGLAND, and a stylised 'B' - likely the makers' mark - and the copyright symbol.

Shield shaped pennant, with gold trim, and hanging device.The words "FEDERATION FRANCAISE HANDISPORT" in white on a blue background, surrounding on three sides a stylised image of red/white/blue Gallic rooster on a white background. The same design in on both sides of the pennant.

WWI historyFramed Replica of Gallipoli Star MedalGallipoli 1914-1915 . This medal was designed to given to all troops who served in the Gallipoli Campaign. The Australian Government, of the time, demanded that it only be given to the ANZAC'S. Following certain concern, it was never presented.

A complete set of 8 blueprints from “Popular Mechanics Magazine”, Chicago. The blueprints are on a royal purple coloured paper with white print. Each print displays labelled diagrams to assist the hobbyist to assemble the ship model “Sovereign of the Seas”. The designer is Harold T. Bodkin. Distinct fold creases divide the documents into quarters. There is some silverfish damage leaving holes, however, all instructions are visible. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, model ship, vessel sovereign of the seas, jim williams, james bernard williams, the forth tasmania, freda williams, heather williams, phyllis bowditch, fletcher jones staff 1936, 17th century sailing ship, cramond and dickson, sovereign of the seas, royal sovereign, sovereign, charles 1, fletcher jones, warrnambool breakwater, popular mechanics magazine

These desert spoons are 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. Large conglomerated group of nickel silver plated spoons with fiddle-back design handle, narrow stem with flared collar and elongated bowl; twenty parts of spoons are visible. The spoons were recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, dessert spoon, petrified timber, conglomerated cutlery, silverware, dining utensil, spoons, conglomeration of spoons

The hallmarks on this silver cigarette case indicate that the object was made in Birmingham (anchor hallmark), is Stirling silver (lion hallmark), and was made 1900 (a hallmark) by the Alexander Clark Manufacturing Co. (makers mark hallmark). The Alexander Clark Manufacturing Co. was established in 1890-1891 at Fenchurch Street, London, forming an alliance with Sheffield cutler R F Mosley in 1900 before later moving to Birmingham. Dates of the exact move to Birmingham differ from site to site.The hallmarks on this object make it significant in the representation of silver wares made by the Alexander Clark Manufacturing Co. which, when added to the other pieces of information available about this manufacturer, add to the information and history available. As the Alexander Clark Manufacturing Co. was based in England, this is of international significance. The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A small rectangular case silver in colour, with gold wash on the inside. The case has a clasp along one edge, a swirling floral design on its top, and two brown elastic straps on the inside.AC [over] MCo / Anchor symbol / Lion symbol / a [Hallmark inside case, lower LHS] Lion symbol / a [Hallmark inside case, upper RHSD]accessories, social history, burke museum, silver

An oval shaped biscuit tin with a coloured floral design painted all over. It has two tin handles attached. There is a paper label (32 oz) glued to the lid. It contained assorted biscuits. Label - Fine English Assorted Elkes - Manufactured in Great Britain Biscuits Ltd

Memorial tablet, south wall, main nave. Decorative opus sectile mosaic within a copper frame, depicting St George slaying the dragon. The inscription is positioned on a stylised ribbon as part of the design.To the glory of God / In Loving Memory of / John Salter / for 45 years / Worshipper and Office Bearer / in this Church / Died Feby. 7th, 1933

A Christmas postcard which was sent to an Australian family during World War I. The postcard is intricately and colourfully embroidered on silk framed with a cardboard backing. The design is of several allied flags and Christmas decorations.The reverse side of the postcard has the followinh handwritten note: "Merry Xmas to all from Dad"

An embroidered postcard which was sent to an Australian family during World War I. The postcard is intricately and colourfully embroidered on silk framed with a cardboard backing. The design is of flowers and foliage with the words "for you alone". The reverse side of the postcard has the following handwritten note: "With Love From Billie Wishing you a Happy New Year xxxxxx"

This type of large, brass tap is typical of the plumbing fittings manufactured in the late 19th and early 20th centuries. The tap has encrustations and concretion inside, showing that it had been in the sea for quite some time. The pipe leading to the spout is squashed, nicked and appears to have been sawn or broken off. It could have once been part of the plumbing from a ship, perhaps from one of the boilers used in the kitchen, for bathing or for laundry or cleaning. The name “BEST” on the tap signifies that it could have been made by Robert Best who began his Birmingham brass foundry c. 1840, and even though The information from the donor is that tap was given to her father (1906-1982) who lived in the Warrnambool district. It was likely given by a cray fisherman or diver, who said that the tap came from the Loch Ard shipwreck, wrecked on Mutton Bird Island, east of Port Campbell, Victoria, on 1st June 1878. This could easily be the case but there is no provenance for it. ROBERT BEST, BRASS FOUNDRY Circa 1840 Robert Best founded his brass foundry business and was referred to as a Brass Chandelier of Birmingham”. In 1864 an advertisement in the Journal of Gas Lighting, Water Supply, & Sanitary Improvement announces Best and Hobson, late Robert Best, 100 Charlotte Street Birmingham, manufacturers of Chandeliers, Brass and iron fittings, Steam and Water-cocks etc. gas apparatus of every description, Plumber's brass foundry, with works at Birmingham and Great Bridge, Staffordshire. In 1867 Best & Lloyd was formed, after Best and Hobson went into liquidation, manufacturing at the Cambray Works of Wattville Road, Handsworth. It was a light industrial engineering works and one of the owners was Robert Dudley Best’s father. Robert Dudley Best (1892-1984) later took over the business of Best & Lloyd. The company is still in business at Downing Street, Smethwick, Birmingham. In 1878, brass ship furniture and bell fittings stamped “BEST” was made by William Udal & Co., who advertised as manufacturers of BEST cast and stamped brass foundry goods. This large brass tap is typical of industrial tapware of the mid-late 19th ancenturies 20th century. The location of the tap when found is associated with the Warrnambool district and could have easily been from a shipwreck due to the encrustation found inside the tap. Due to its design and manufacturer, the tap is associated with the mid-late 19th and early 20th-century manufacture of plumbing fittings. Tap, brass, heavy-duty, with butterfly handle. The design and style are typical of the plumbing of the late 1800s. Inscription pressed into the handle, within rectangular border "BEST". Encrustation and concretion are inside the tap spout. “BEST” on one side of the tap handle (Also, a label from the donor attached to the tap “from the wreckage of the LOCH ARD")flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, robert best brass foundry, best and hobson, best & llyod, birmingham brass foundry, brass tap, best brand tap, heavy duty brass tap, industrial brass tap, boiler tap, 19th century plumbing, 19th century tapware, 19th century plumbing fitting, tap with butterfly handle, tap salvaged from shipwreck, brass fittings, steam engine fittings, water-cock fitting