Damaged, mounted NETTLETON original:print of Sandridge Beach, buildings; three men and debris on the beach c1878natural environment - beaches and foreshore, built environment - commercial, hotels, charles nettleton, freemasons hotel, donaldson

.1) George Edgar Godlip Yung seated on a swing and two children, possibly grandchildren Alice (b1914) and Grace (b1915) Watson. Note bridge in background so perhaps Peterborough? .2) A family outing to the beach on a cold, windy day. Uncle Ted was Charles Edward Smith, an Anglican minister and the son of George Henry and Emma (b Keys) Smith and a sister of Clara Emma Yung (b Smith). On the left of the photo is George Edgar Yung, his brother-in-law and most likely the lady on the right is his sister Clara. They are rugged up for the day. Note the steel tips on 'Clara's shoes. Two black and white photographs at Warrnambool Beach..1) G E Yung ;( crossed out - Alice and Grace) Watson .2) Uncle Ted and partywarrnambool, warrnambool beach, charles edward smith, clara emma yung, george edgar godlip yung, peterborough

Mr Fred Lay, along with his father and brothers, owned the local carrier business with Mr Charlie Joiner as a business partner. They used a horse and cart to transport goods from the railway station into Orbost . In about 1907-08 Mr. Charles Joiner and Mr. Alf Lay came together and conducted a regular service — Mr. Lay at Lakes with a five horse team (because he had to travel the beach at Lake Tyers) and Mr. Joiner, at Orbost, with four horses. The two met half way and changed wagons. Asked why they did this it was said they met every boat and were at the jetty every day. This was why they cornered most of the inward loadings. (ref. River Trading on the Snowy, John Phillips) Later the business was sold to Mr David Williams. Robert Pullar Cameron was a Shire Councillor for many years. He married Penuel Hossack and had a family of James, Flora, Penuel and Alex.This item is an example of a book keeping document used by an early Orbost Business. It is a useful research item.A white receipt docket with black lines and print from Lay & Joiner, General Carriers to R. Cameron.on front - "Paid by Cash"cameron-robert-pullar lay-&-joiner-carriers transport document-receipt

A letter written from Charles Quinn to his mother in 1946 depicting his time spent travelling from Sydney to San Francisco.This letter is of historical, social and interpretive significance as it provides information about the life of a seaman during the mid 20th century.Two page, double sided letter (0348.a1-a2) written on 21/02/46 from San Francisco from Allen to his mother with envelope (0348.b)Two double sided pages of script beginning with. "My Dear Mum...Arrived here on Wednesday being 2 days overdue...." Inscription on the top left hand corner which states. "M. I. Goonawarra/San Francisco/21-2-46" Inscription on the envelope. "Mrs. S Quinn/San Lorenzo/63 Ocean Beach/Manly N.S.W/Australia."charles quinn, sydney, san francisco, mission to seafarers, 1946, seafaring

Advertising Land for Sale in Cowes, Phillip IslandFour page colour Brochure advertising land in Devon Avenue and Cornwall Avenue, Cowes, For Sale. Illustrations of Cowes Pier, The Beach at Cowes and motoring on the Island.Four pages of Real Estate lingo!! Agents - Chas Grayden Jnr, Cowes and Duncan & Weller, Malvernreal estate, cowes phillip island, charles grayden jnr., cowes, duncan & weller, malvern & canterbury

Photos taken by Charles Dix 119700 RAAF 2 SQN. at Darwin Adelaide River Morotai and Balikpapan during WWII and 2 photos of later dateCharles Dix 119700 RAAF 2 Sqn. was a member of RSL Waverley Sub Branch for many years. He Joined the RAAF on 8th October 1942 and was discharged from the 83rd. Operational base unit on 30th. January 1946. During WWII and served at Darwin, Adelaide River Morotai Island and made a "beach Landing" under fire at Balikpapan to set up RAAF signals station at the newly captured airstrip Vic Morgan is thought to be MORGAN, Victor Allen - (Leading Aircraftman); Service Number - 88726; File type - Casualty - Repatriation; Aircraft - Mitchell A47-37; Place - Arafura Sea; Date - 14 August 1945Photo Album of mainly black and white photos from WWII Darwin Morotai Island and Balikpapancharles harold dix, darwin wwii, adelaide river wwii, frognal air base, raaf, balikpapan, dix, photos wwii, darwin hospital, jeep, morotai island, 2 squadron r.a.a.f., 2nd squadron raaf, wwii

This book was issued in 1960 and is an impression of the experience of the men who landed in the light of dawn on D Day. An impression of what it was like to be dropped from the sky at morning or ship to shore from a landing craft under fire.Historical recount of D-Day landings and subsequent battlesHardcover - dark blue Front Back and spine. The spine has the title printed. Inside front and back cover have illustrated maps by Charles Green. Photographs, maps and illustrations.wwii, d day, battle of normandy, air drop, american air drop, canadian troops, french civilians, invasion fleet, paratroopers, juno beach, invasion beaches, dropping zones, utah beach, omaha beach

Part of a collection of photographs cut from old photo album with multiple photos per page. Margaret Webster donated the photographs. Margaret's parents were Sir Charles & Lady McGrath who lived near the RSL on Ventnor Road, Phillip Island.286-01 - Sepia photograph of the beach at Cape Woolamai, Phillip Island. 286-02 - Sepia photograph of The Sentinel, Cape Woolamai, Phillip Island. 286-03 - Sepia photograph of The Terrace, Cape Woolamai, Phillip Island. 286-04 - Sepia photograph of Pyramid Rock, Phillip Island. 286-05 - Sepia photograph of the cliffs at Cape Woolamai, Phillip Island.286-01 - "Beach Cape Woolamai Phillip Island" 286-02 - "The Sentinel Cape Woolamai Phillip Island" 286-03 - "The Terrace Cape Woolamai" 286-04 - "Pyramid Rock P.I." 286-05 - "Cliffs - Cape Woolamai"coastline cape woolamai, pyramid rock, the sentinel cape woolamai, the terrace cape woolamai, margaret webster

Part of a collection of photographs cut from a photo album with multiple photos per page. Donated by Margaret Webster who's parents were Sir Charles & Lady McGrath. They lived near the RSL on Ventnor Road, Cowes Phillip Island.286-06 - Sepia photograph of a Koala in a tree in a backyard near a house. 286-07 - Sepia photograph of a motorcar and three people. 286-08 - Sepia photograph of a Koala in a tree in a backyard near a house. 286-09 - Sepia photograph of a group of 9 people outside the Continental Guesthouse in Cowes. 286-10 - Sepia photograph of the old sea baths at Cowes, Phillip Island. 286-11 - Sepia photograph of Cowes front beach at sunset. 286-06 - "Native Bears - Phillip Island" 286-09 - "Lovers' Walk Back Beach Cowes. The House Party Cowes." 286-10 - "The old baths - Cowes" 286-11 - "On the beach, Cowes. At sunset, Cowes."koala, wildlife - koala, the continental guesthouse, cowes sea baths, cowes beach, margaret webster

Part of a collection of photographs from an old photo album with multiple photos per page. Donated by Margaret Webster. Her parents were Sir Charles & Lady McGrath who lived on Ventnor Road, Cowes near the RSL286-12 - Sepia photograph of a group of people with a net of fish at Cowes, Phillip Island. 286-13 - Sepia photograph of two women on the beach at Newhaven, Phillip Island. 286-14 - Sepia photograph of three people and a car at Newhaven, Phillip Island. 286-15 - Sepia photograph of a woman holding a Mutton Bird. 286-16 - Sepia photograph of Forrest Caves, Phillip Island. 286-17 - Sepia photograph of three people on rocks at Forrest Caves, Phillip Island.286-12 - "A haul of trout, Cowes." 286-13 - "Newhaven, Phillip Island" 286-14 - "A rest a Newhaven P.I." 286-15 - "A Mutton Bird P.I." 286-16 - "The Caves P.I." 286-17 - "Forest Caves P.I." (Should be "Forrest" with two "r's")forrest caves phillip island, fishing catch, newhaven, mutton bird, native wildlife, margaret webster

Part of a collection of photographs out of an old photo album with multiple photos on each page. Donated by Margaret Webster. Margaret's parents were Sir Charles & Lady McGrath who lived near the RSL in Ventnor Road, Cowes.286-18 - Sepia photograph of The Tea Room at Shelly Beach, Phillip Island or San Remo?. Two men, a lady and dog beside two cars. One car has a woman inside. 286-19 - Sepia photograph of a group of 13 people in coastal scrub land at Shelly Beach. 286-20 - Sepia photograph of a group of 13 people in coastal scrub land at Shelly Beach. 286-21 - Sepia photograph of a group of people having a picnic in front of the San Remo Hotel. 286-22 - Sepia photograph of 3 people at The Nobbies, Phillip Island. 286-23 - Sepia photograph of rough seas at The Nobbies, Phillip Island. 286-24 - Sepia photograph of a man with a young penguin possibly at Slummerlands Phillip Island. 286-25 - Sepia photograph of breakers at The Nobbies, Phillip Island. 286-26 - Sepia photograph of The Continental Guesthouse with guests on the verandah. 286-27 - Sepia photograph of an unmade road with scrub vegetation on the sides. 286-28 - Sepia photograph of Cowes foreshore with the Jetty in the background. 286-29 - Sepia photograph of the Cowes Jetty with people arriving off a ferry. 286-30 - Sepia photograph of Cowes foreshore with the Jetty in the background and a ferry.286-18 - "The Teahouse - Shelly Beach" 286-19 - "A Confidential Chat - Shelly Beach" 286-20 - "The Wanders - San Remo" 286-21 - "Lunch at San Remo" 286-22 - "The Nobbies - P.I." 286-23 - "Rough Seas - The Nobbies" 286-24 - "A Young Penguin" 286-25 - "Breakers - The Nobbies" 286-26 - "The Contin - Cowes" 286-27 - "The Road to the Back Beach" 286-28, 29 & 30 - "Beach and Jetty at Cowes"the nobbies phillip island, young penguins, wildlife - penguins, tea house behind shelly beach, shelly beach, san remo hotel, the continental guesthouse, the continental hotel, cowes jetty, margaret webster

One of four photographs donated by Ian Hannan.Large Black & White photograph of local school children at the beach. Back Row: L-R: Charles Jones, Michael Metzzer, Donald Cameron, John Cadogan, Howard Dixon. Middle Row: L-R: kneeling, Eileen Jones, Kaye Jeffrey, Ilze Pakalns. Front Row: L-R: seated, Robert Jeffrey, Ian Ferguson, Shirley Booth, Jenny Jones, Marie McGuigan.cowes beach, ian hannan, cowes state school

Two of a collection of 6 photographs donated by Anne Grayden. First photograph "Registration" No. 199-05 Second Photograph "Registration" No. 199-061. Colour photograph of front of Charles Grayden's Business Card. Map of Phillip Island in the background. 2. Colour photograph of back of Charles Grayden's Business Card.1. On Front: Telephone Cowes 61 - Cowes Pioneer Motor Service - Personally Conducted Tours to all Beauty Spots - Chas. Grayden, Proprietor - [over On Back: Business Card of Charles Grayden 1925 - 1936. 2. On Front: Personally Conducted Tours to all Beauty Spots including Nobbies & Summerland Surfing Beach, Newhaven, Forrest's Caves & Rhyll. Evening Trips to Mutton Bird & Penguin Rookeries. Agents for Ideal Summerland. Booking Office, opposite Pier, near Koala Cafe.charles grayden, cowes pioneer motor service, anne grayden, tourism phillip island

The letter was written by Allen Quinn to his mother. Allen started working as a seafarer when he was 16 years old, and frequently wrote to his mother during his travels. He also created an extensive photograph collection, which corresponds with the letters.The letter is part of an ongoing correspondence between Allan and his mother. This letter mentions the M.T. Joonawarra, the ship Allan was working on at the time, as well as its sister ship, the "Kookaburra".Letter addressed to Mrs S. Quinn, "Sanlorenzo", 63 Ocean Beach, Manly, N.S.W, in five parts. Part 0151.1 Envelope Part 0151.2 Letter Page, 0151.3 Letter Page, 0151.4 Letter Page, 0151.5 Letter Page . Both the envelope and letter were white paper, which is now a yellow-white. The letter begins "My Dear Mum, This is just a short note..." and concludes with "P.S. I have a photo of myself...". In the top right hand corner of the letter is "M.T. Joonawarra / San Francisco / U.S.A / 15.7.1945Front of envelope: MRS. S. QUINN, / "SANLORENZO", / 63 OCEAN BEACH, / MANLY / N.S.W. AUSTRALIA handwritten in blue ink. In the top right hand corner is a red Australian stamp. In the middle of the top of the envelope is postmark: SP (indecipherable) / O'LAND / 1 AM / 2 9 AUG 2 / 1945 / POSTED IN / PILLARS.photograph, allan-quinn, mt-joonawara, 1945

This is one photograph from the Allan Charles Quinn collection. Allan worked on the Goonawarra during 1946 working between Sydney, Melbourne, Palmyro Island, San Francisco, Los Angeles, Panama Canal, Falmouth, Le Havre and Goteborg.The Allan Charles Quinn collection is a collection of photographs and letters that provide a very intimate portrait of life at sea for a young man in the period following World War II.Sepia toned photograph of bow view of Goonawarra including anchor ropes and nets hanging from the side.Black ink on reverse: Bow view of Goonawarra/ in Melbourne/ discharging oil from/ Long Beach/ 13 Jan 1946allan-charles-quinn, goonawarra, sydney, melbourne, palmyro-island, san-francisco, los-angeles, panama-canal, falmouth, le-havre, goteborg

This photograph is part of series of four, the only colour photographs taken by Allan Quinn while docked in Rio De Janeiro on-board the M/S Fenris. The photographs are mentioned in one of Allan Quinn's leters to his mother (Object 0150).This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Colour photograph of Copacabana Beach in Rio De Janeiro. The photograph has been mounted on a 7.4x9.8 white card.Date on verso: 25-12-48allan-quinn, colour-photograph, fenris, rio-de-janeiro, copacabana

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (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 early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire