Retro-reflective tape on ply on composition boardfluorescent, found material, reflective, sculptural, indentation, marked, recycled material, repurposed

Example of WWI French Art, using found material.Contemporary label, Whimsical article made from weapons (hand grenade + Bullet casing) + uniform buttons.Example of WWI French Art consisting of hand grenade "bird" mounted on wooden base using .303 calibre cartridges as pivot surrounded by 4 British Buttons as "fence".Contemporary label: The Egg-Bird" found in "No-Man's Land"french art - mounted with contemporary label..

The S&DHS Pioneer Links Collection is the Sunshine & District Historical Society’s curated set of early settler, family‑history, and district‑founding materials, used to document the people who shaped Sunshine, Braybrook, Deer Park, St Albans, Albion, and the wider western suburbs. This CD contains a database of information used to make the Pioneers Link DVD Series.Pioneer Links Database Requires MC Access 02/03

A SIRT Quardruplex tennis racquet, commemorating the 40th anniversary of the company's founding in 1901. Materials: Wood, Nylon, String, Ribbon, Leather, Ink, Glue, Lacquer, Metal, Painttennis

Material found in the collection when sorting out the Compactus Room May 1997B&W photographic copy of sketch - The Melbourne Glass Bottle Co., the Beach, Emerald Hill (Illustrated Australian News 12 June 1876) Formerly Felton GrimwadeOn read: IAN 12 June 1876industry - manufacturing, melbourne glass bottle company, felton grimwade

One of a collection of Depression-era items donated by Mrs Elizabeth Angel. The cage, and another similar cage is constructed of found or recycled materials including what appear to be kerosone tinsDepression-era handmade birdcage, constructed out of painted tin and chicken wire. The cage has an overhanging piece of iron at the front for protection from the weather. It is open on three sides. bird cages

One of a collection of Depression-era items donated by Mrs Elizabeth Angel. The cage, and another similar cage, is constructed of found or recycled materials including what appear to be kerosene tinsDepression-era handmade birdcage, constructed out of painted tin and chicken wire. The cage has an overhanging piece of iron at the front for protection from the weather. It is open on three sides. bird cages

Part of the " Wagga collection" donated by the Running Stitch group. Maker unknown. c.1900. Possibly English. Was being used as packing material when found.Quilt, patchwork. Made from tiny hand worked patchwork squares reminiscent of medallion style quilts.quilting history, patchwork history, running stitch group, running stitch collection, england, quilting - history, patchwork - history

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This homemade photographic printing frame was built by Louis Haeusler (b.1878) and demonstrates his engineering capabilities. Rather than purchase the required materials for his home dark room processing, Louis would make any tools he needed from found materials around the Haeusler family home. Louis’ photographic equipment is among the many objects in the Haeusler Collection that represent home and social life in early twentieth century Wodonga. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. A handmade photographic printing frame, constructed from timber, paper, nails, glass and sticky tape. photography, photos, photographic, photographs, family photos, family photography, darkroom photography, dark room photography, printing, printing frame, wodonga, haeusler, haeusler collection

Book, dark blue faded cover, black tape on spine ( could be later addition to secure book.) 'The Farmer's Guide; a treatise on the diseased of horses and black cattle. With a selection of proved prescriptions and instruction for the management of breeding mares and cows' Published by Blackie & Son, Queen Street, Glasgow, MDCCCXXXIX (1839) Written inside front cover handwritten in pen ' Alex MacDonald, Alex Macdonald, Grieve Culbo' On next page handwritten in pen 'Alex MacDonald, Grieve Coulmony, Pariah of a Ardcheck (?) 1837' Medicine for horses, fenugreek seeds, medicine for horses' Book found in material with Harris Collection, Axedale, although no indication of Harris ownership of book.James Webb, veterinary surgeon.axedale, history, harris family farming

Camp 3 was one of the Tatura Group of civilian & prisoner of war internment camps during World War 2. Camp 3 was a civilian 'family' camp. The abacus was made by a German internee, for his son in the camp. It was made from scrap materials found in and around the camp & the beads & other wooden parts of the abacus were turned on a lathe also constructed by the internees. Wood & metal abacus with wooden base, sides & beads (100), & metal rails. Wood painted red & black. camp 3, tatura, internment camps, civilian internees

The Stony Creek Trestle Bridge was built in 1916 when the existing rail line from Melbourne to Bairnsdale was extended to Orbost. This 97km Bairnsdale to Orbost extension through rugged terrain was reputed to have been the most difficult rail project undertaken in Victoria. In service for over 60 years the bridge was damaged by bushfire in 1980, with the last train crossing in 1987. At 247m long and 20m high, it is the largest standing bridge of its kind in the State, and is listed on the Register of Historic Sites. Built of red ironbark and grey box timber, it is a fine example of the early engineering skills that utilised the resources and materials found on site.The Bairnsdale to Orbost rail line contains the most varied range of timber & timber composite bridges on any Victorian line. The Stoney Creek bridge is listed on the Victorian Heritage Register for its architectural and historical significance. A black / white photograph of a very tall wooden railway bridge with a train along the top.railway-bridge stoney-creek-bridge east-gippsland-railway

The Stony Creek Trestle Bridge was built in 1916 when the existing rail line from Melbourne to Bairnsdale was extended to Orbost. This 97km Bairnsdale to Orbost extension through rugged terrain was reputed to have been the most difficult rail project undertaken in Victoria. In service for over 60 years the bridge was damaged by bushfire in 1980, with the last train crossing in 1987. At 247m long and 20m high, it is the largest standing bridge of its kind in the State, and is listed on the Register of Historic Sites. Built of red ironbark and grey box timber, it is a fine example of the early engineering skills that utilised the resources and materials found on site. (More information Newsletter July 2013)Built during the period 1914-16, of Gippsland Grey Box and Red Ironbark, the Stoney Creek bridge on the East Gippsland Railway is a fine example of early engineering skilll , being constructed without the aid of any of the modern machinery available today. This is a rare photograph and of high significance in showing the bridge under construction.Landscape format black + white photograph (unframed). Four pin holes in each corner, tear to top left quadrant and fold / crease top to bottom in centre of image.construction, 1916, railway bridge, timber industry, trestle construction, stony creek bridge, east gippsland, bairnsdale to orbost line

In 1977 great efforts were being made to preserve this bridge, the highest trestle bridge in Victoria at Stoney Creek. The Stony Creek Trestle Bridge was built in 1916 when the existing rail line from Melbourne to Bairnsdale was extended to Orbost. This 97km Bairnsdale to Orbost extension through rugged terrain was reputed to have been the most difficult rail project undertaken in Victoria. In service for over 60 years the bridge was damaged by bushfire in 1980, with the last train crossing in 1987. At 247m long and 20m high, it is the largest standing bridge of its kind in the State, and is listed on the Register of Historic Sites. Built of red ironbark and grey box timber, it is a fine example of the early engineering skills that utilised the resources and materials found on site.The Bairnsdale to Orbost rail line contains the most varied range of timber & timber composite bridges on any Victorian line. The Stoney Creek bridge is listed on the Victorian Heritage Register for its architectural and historical significance.A black / white photograph of a very large trestle bridge. a steam locomotive, with loaded goods trucks, is on the bridge. stoney-creek trestle-bridge railway east-gippsland-railway

Malachite is a water soluble, crystalline, triphenyl methylene chloride salt. It has a close relationship to copper because it is common for Malachite and copper to come from the same ore. Malachite often has shades of green, making it also known as Malachite Green. As a result of it's colour, it is known for being a dye and has been used in the dye industry, the textile industry and in medical fields. Cobar in New South Wales is well known for it's mining. This is because of the number of important deposits present in the area and include three important mining belts where most of the materials are found. These are the 'Cobar belt', the 'Canbelego belt' and the 'Girilambone belt'. The 'Cobar belt' runs underneath the main town. Copper was first discovered in Cobar in 1869 and since then, many deposits of other materials have been found, including Malachite.This specimen is significant because it comes from Cobar, NSW and represents the many deposits of materials found there. Cobar has a long history of mining and is a source of Australia's copper minerals. Malachite is often found in copper deposits meaning that it is representative of Cobar's copper production. Malachite is known for it's vivid green colour and as a result, has many uses, such as meaning used as a dye. This makes it a valuable material and highly significant. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized mineral with shades of brown , white and light green throughout.geological specimen, geology, geology collection, burke museum, beechworth, malachite, copper, water soluble, cobar, cobar mines, cobar mining, cobar nsw, nsw, new south wales, mining belts, ore, copper ore, malachite green, dye, green, dye industry, textile industry, desposits, canbelego, girilambone, alfred selwyn

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Inspired by an ancient arch in Iraq, a house stands on top of a hill in a private position, off Ryans Road, Eltham. One of only two houses of its kind, it was leading Melbourne architect Kevin Borland’s first commissioned house, which he built in 1953. The shell-like structure, partially screened by giant trees and cacti, was inspired by the Arch of Ctesiphon south of Baghdad, built in the second century.1 Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches tightly covered by hessian. This ctesiphon system was developed in the United Kingdom by engineer J H de Waller in 1947. This house was the first of three such structures built in Victoria, of which only one other remains, although substantially altered.2 It is the Wood House and supermarket, at the corner of Cleveland Road and High Street Road, Ashwood, designed by Robin Boyd in 1952. The Rice House demonstrates Kevin Borland’s innovative and experimental work. It is an outstanding example of the post-war period of experimentation in domestic architecture in Melbourne – by Robin Boyd, Kevin Borland and others – for The Age Small Homes Service from 1947 to 1953. This was partly an expression of late-Modernism and also necessitated by the post-war shortage of building materials. In Eltham, the post-war shortage of building materials largely resulted in mud-brick houses. Examples of Borland’s public work include contributions to the Olympic Swimming Pool in Melbourne and the Preshil Junior School in Kew. After more than 50 years of living in the house, Harrie and Lorna Rice still love it. Facing north-east with large windows overlooking the garden and two courtyards, it is well lit and benefits from a through breeze. The couple commissioned the extraordinary house after Harrie, then an art student, met Borland in 1951 at The Age Small Homes Service. Harrie was so impressed by the recently graduated Borland’s enthusiasm, that he asked him to design them an interesting house for a low budget. The unusual design presented several hurdles for the young couple before they could construct it. Borland suggested that they buy land in Eltham, because at that time it had the only council in Melbourne that would allow such an innovative house. Another hurdle was to gain finance for this remarkable house. The State Savings Bank Manager refused finance on the grounds that it was ‘unliveable’ and a ‘disgrace’. Fortunately, through a family connection, the couple borrowed money from the National Bank. But they discovered years later, that the bank’s evaluation stated the two ‘concrete sheds’ were of no value! The house built in off-white concrete, consists of two sections. The main house has four arches supported by brick and concrete walls that create a series of inter-connected rooms. Inside, the ceiling follows the roofline. Originally this section was only ten square metres, because of building restrictions at the time. But in 1973 Borland added two rooms and a carport. The second structure of two arches was originally a garage and a studio for art teacher Harrie Rice. To accommodate the growing family, in the mid 1950s, Borland converted the second structure into two children’s bedrooms, a kitchenette, a bathroom and a living room. The two structures were originally linked by a covered way of suspended draped-concrete, but this collapsed in the 1980s. The design has several maintenance problems. Cracks developed where two halves of the shells were joined. Then the material sprayed over the cracks became brittle, causing leaks. Fortunately Harrie found another material he could use. The valleys between the arches collect water, requiring annual painting with a waterproof material to prevent leaking. Lorna framed the house with native and exotic plants, which provide privacy and as a bonus, the garden attracted the rare Eltham Copper Butterfly. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157 Comments about the Rice House on Lost Eltham page on Facebook June 2018 https://www.facebook.com/Lost-Eltham-1535993463348408/ Kate Borland:  My dad designed this house. It is the Rice house and it is being renovated to its original glory as we speak.... Katherine Fox: I remember Harry and Lorna's, there was a secret room...! And the best loo with a view as I recall. Katherine Fox: Love this house! Wish I'd known it was up for sale. Looking forward to seeing progress if possible...If I recall correctly, the concrete swag over the walk-way collapsed at some stage. Marcus Skipper: In our little green Landrover, my dad and Alister Knox drove up dirt roads, a dirt track through the bush and finally to the ridge to check out this joint in about 1960. After the war at some time, they were all together at RMIT studying building design. Alister was the only one to graduate. A situation that resulted, my father would joke, in Alister having a career wherein his qualifications exceeded his talent. World Peace had broken out and all were hip to the ‘People’s’ century. Kevin went with the Modernist’s concrete, Alister went with the peasant’s mudbrick. “If this is the future,” my dad said,”I don’t like it.” And we drove back to medieval Montsalvat.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, rice house, ryans road, kevin borland

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture. Compass saw blade with wooden handle attached with wingnut.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool

The sharpening stone can also be referred to as a whetstone, oil stone or honing stone. It is a well-worn double-sided sharpening stone retrieved from the wreck site of the Loch Ard. It is used to grind and hone the edges of metal blades and tools. ‘Natural’ sharpening stones like this one are quarried from ancient sedimentary rock that has metamorphosed from clay and volcanic ash to produce garnet crystals. Most modern stones are artificially produced, or ‘bonded’, abrasive stones, made by fusing clay and metal powder under heat and pressure. The softer yellow Corticule stone is found in thin vertical veins running through the more plentiful Belgian Blue rock. Coticule is a fine-grained and dense material that ‘cuts’ metal slowly but to a superior standard of sharpness and finish. The relatively coarser Belgian Blue is stronger and ‘cuts’ more quickly, but with a less polished finish. A double-sided whetstone is therefore valued for its increased durability (the harder BBW ‘backs’, or supports, the softer Coticule), and additional utility (the fine ‘grit’ of Coticule complements the coarser BBW to meet a range of sharpening needs). The blue-grey base of this stone is thinner than the remaining yellow Coticule on top. This suggests that the majority of grinding and honing work it has done on board the ship was for larger tools, rather than on surgical or shaving blades. Its rounded or spherical shaping may also be related to the ‘tumbling’ action of the sea on the ocean floor. History of the Loch Ard wreck: 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, Curle & 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 Lochard 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 Lochard 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 Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard 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 of which the subject items are a small part. The collections objects give us a snapshot of how 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. Through is associated with the worst and best-known shipwreck in Victoria's history. A sharpening stone is also called a whetstone, oil, or honing stone. The stone is a worn double-sided rectangular block with rounded corners. There is a clear delineation between its coarser Belgian Blue base (grey colour) and its finer Belgian Coticule face (yellow colour). It bears sedimentary encrustation over one-third of its surface. 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, sharpening stone, whetstone, oilstone, double-sided stone, belgian coticule, belgian blue whetstone, oil stone, honing stone

In 1893 Harry Crowther Slingsby founded the company the family firm was at first wholesale bottlers and had established themselves in Bradford, England, later they had a branch in London. Harry Crowther Slingsby began to look into the invention of labor-saving devices for the company. He had recognised that working practices in the local factories relied heavily on manual hauling and gravity for the movement of raw materials and products from floor to floor. However, this did not solve the problem of moving items horizontally around large buildings. Slingsby then set about creating robust trucks and trolleys to move heavy loads with relative ease. Different designs were created for different purposes sack trolleys for moving large sacks of flour, sugar and dried fruit around grocery stores; high wheeled flat carts towed by one or two people; trucks fitted with wicker baskets carried fibers around textile mills and railway platform trolley to move luggage. The company is still in existence today manufacturing many different types of products.An item from the early to mid 20th century connected with railway memorabilia and a company that had humble beginnings to become today a leading UK manufacture. Railway platform luggage trolley large metal frame & wood top with 4 black metal cast iron wheels & metal structure at front with holes to put rope/harness through. Front 2 wheels swivel. Trolley painted red. Wheels are marked Bradford & Londonflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Anthropodermic Bibliopegy is the name given to the use of human leather to bind books. The name stems from the combination of the Greek root words, human (Anthropos), skin (derma), book (biblion), and fasten (pegia). The practice of creating anthropodermic books was popular throughout the 17th and 18th centuries. Most commonly, anthropodermic books are medical tomes, with the human leather taken from medical cadavers. Others were produced after criminal trials, with the criminal’s skin used to enclose the record of their own death sentences, creating a form of punishment that would surpass death. Other anthropodermic books contain poems or are religious texts. This book was written and printed in 1599 but most probably was rebound later when creation of anthropodermic books became more predominant. The book is a small tome of a religious nature containing the work of Bishop Thomas Bilson, who in a puritanical voice states that the primary argument articulated in this book is that “the metaphorical Calvinist interpretation of Hell as an exclusion from God was accurate then Christ's descent into hell after his crucifixion must refer to an actual existent hell as Christ was neither subject to sin nor able to be separated from the Divine.” The unusual cover of the book has led to many questions, the main being whether the book is covered with human skin. It was confirmed as such in 2014 with DNA testing undertaken by honours student Talanna Buckley at Federation University finding an 100% match to human DNA on the outside cover of the book. This is one of only two confirmed anthropodermic books in Australia, the other is housed at the National Library of Australia. Other forms of testing the leather of books have been found to be more accurate than DNA testing. For example, before DNA testing or PMF (Peptide Mass Fingerprinting) are undertaken many books have been identified as made from human skin through the close examination of the skins patterning. Hair follicles are the focus of the examination as certain patterns and sizes lend themselves to being human. However, many of these books have been proven to not be bound in human skin, the same can be said of books with inscriptions claiming them as anthropodermic. Peptide Mass Fingerprinting (PMF) testing has been found to be the most reliable way of confirming a leather bindings origin. This process involves the sampling of collagen-based materials, cutting the protein to gain specific amino acid combinations which form individual peptide sequences. Each mammal has an individual amino acid sequence in its collagen therefore its peptide mass combination is unique. This form of test can provide a more accurate outcome as collagen will be preserved for longer after the tanning process and will not be damaged in the same way DNA can be by the tanning process. DNA testing can also provide false positives as trace DNA from someone touching the book could be amplified and provide the reading instead of that of the leather itself. However, this book was tested with many controls as well as specific decontamination procedures in order to ensure that it was not trace DNA being tested. This book is historically and spiritually significant because it is a rare example of an early printed English Christian religious tract produced in Old English and Latin.. Its association with Thomas Bilson, who oversaw the final printing and publication of the King James Bible, is important. The covering of this book has been tested for human dna. Findings prove the book is covered with human skin, increasing the rarity of the object.420 page book with unusual leather cover. The book is written in Old English with passages in latin. There is a pressed petal between p.68 and 69. The covering of this book is made of human skin. The practice of binding books in human skin, also known as anthropodermic bibliopegy.Inside cover - James Hendy No 17 (Fu)gends Road Palmers Village Westminster. The gift of his mother Mrs Thomas Hendy. Some notes made through text eg p.112, and a passage written on the last page.religion, bible, edward lowe, edward lotos, thomas bilson, anthropodermic bibliopegy, james hendy, full redemption, religious, leather, wilson, winchester, jesus, puritanical, puritans, bungey, bilson, human skin, skin, human skin cover, human skin binding

The CD-Rom includes a range of electronic correspondence sent 'Big Cats Victoria and Simon Townsend and JohnTurner. Their website states: Big Cats Victoria Southern Australia, including south western West Australia, has a history of reports of ‘panther’ like predators dating back to the later half of the 19th century. The animals were usually described as being of black or tan colouration and with the proportions of a medium sized big-cat such as a Leopard or Puma. The records can be found in newspaper, radio and television archives, Government reports, a very few books and on the internet. The historical material is based on anecdotal reportage and has contributed to the mythification of the subject. Some Government agencies at both State and Local levels (in New South Wales), have collected records of sightings or investigated stock deaths purported to be associated with so called ‘panther’ kills. They remain understandably non committal due to the lack of a specimen of such a predator of undeniable authenticity. While other types of unknown predator have been reported in various parts of Australia they are not the concern of this website. For purposes of economy we, John Turner and Simon Townsend, confine our investigations to western Victoria and south eastern South Australia. (http://bigcatsvic.com.au/) A CD-ROM of multiple emails and image attachments relating to assorted sightings, footprints, killings, etc from big cats in the Otways of Victoria. The electronic mail was sent to 'Big Cats Victoria' Images include: This item is part of the Australian Animal Folklore Collectionaustralian animal folklore collection, ja sharp, simon townsend, neville bayley, st kilda, peter stefanis, toolangi, puma, tom daniel, footprint, pawprint, cryptozoology, rex gilroy, lancefield tiger, anglesea, berringa, matthew charles, jutin fitzclarence, harry carlin, patty smith, johannes beach, nerida, stirling ranges, daryl hardy, brook kelly, carl rose, ashley hall, jonathan smith, sally ballieu, lorraine balck, wayne bower, ian riordon, aleda turna, john turner, dave moyle, ben rayner, stewart leach, colin boord, sheryl mahoney, beech forest, otways, tooborac, geoff black, panther, brad blake, priscilla prescott, beau kapitiany, ramsay hosn, clare jones, darren guthrie, tallarook, josh fairway, linda wescon, lithgow, john turner, southern grampians

Frank Anthony Thomas was born at Daylesford and enlisted at Ballarat. On his enlistment papers of 9 August 1915, his next of Kin was Saul Thomas of Ascot, Victoria. This photo was found with a number of other World War One material associated with the Holmes family of Ascot, Victoria. Black and white photographic portrait of a World War One soldier in the Australian Imperial Forces (AIF). It is Frank A. Thomas. Verso "Sincerely yours F.A. Thomas, France March 1918."chatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, france, frank anthony thomas, ascot