These are souvenir medals of the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition organised by a local committee under the chairmanship of the Mayor, Walter Hickford was one of the most important events in Warrnambool's history. It ran for three months and was said to have attracted 70000 visitors. It was held in Liebig Street and utilised both the civic centre buildings and temporary buildings erected for the event. It had several exhibition courts featuring art worksand business exhibition stands, competitions,entertainments and visiting experts in various fields. These medals were made at the exhibition at the stand of Stokes and Son. Visitors to the exhibition were able to get a gold silver or bronze medal made while they watched and the medal was then perforated ready to put on a watch chain or pendant. Thomas Stokes came to Australia in the 1850's and established a successful business in Melbourne manufacturing buttons, medals and tokens. The business was called Stokes and Son following a fire in 1893.These medals are of great significance as a memento of an important event in Warrnambool -The Warrnambool Industrial and Art Exhibition of 1896-7. Medals such as these would have been in the homes of many residents of Warrnambool and district and beyond after 1896..1 This silver circular medal has text around the outer rim and an image of Queen Victoria on the reverse. On the obverse is text and an image of the Warrnambool Exhibition building erected for the occasion. The medal is secured by a red thread , button and clear tape to a piece of card. On the card is a hand drawn sketch the Warrnambool Exhibition building and a hand drawn sketch of a profile of Queen Victoria . .2This silver circular medal has text around the rim and an image Warrnambool Exhibition building on the reverse and on the obverse a stylised coat of arms topped by the rising sun . Inside the field is a sailing ship, a pick and shovel , a sheep and sheaf of wheat .1 on the Reverse : around the rim, Struck at the Exhibition mint. On the obverse : Industrial exhibition 1896 Warrnambool. .2 On the obverse : Industrial exhibition 1896 Warrnambool.warrnambool, great exhibition of warrnambool, 1896 exhibition warrnambool, warrnambool exhibition medal

The following is an extract from Warrnambool and District Historical Society Website which explains briefly the Great Exhibition of 1896-97 The Great Industrial and Art Exhibition in Warrnambool in 1896-97 was an exciting affair for the town and the surrounding area. People came from far and wide to be enlightened, educated and entertained, with 70,000 visitors passing through the doors during the three months of the exhibition. Not bad for a town with a population of only 6,500 and a further 9,200 living in the surrounding shire! Planning began at a public meeting attended by 60 people in May 1896 and the exhibition opened in December the same year on the site of the current Light House Theatre. The architects submitted plans for four annexes, complete with turrets, a fernery and a giant flagpole. The site covered 1 acre and included a Marine court, industrial exhibits, an education court, defense and agriculture court, stalls, coach builders, dairy show, an art court and provision for a smorgasbord of various entertainment. (The Story of the Warrnambool Industrial & Art Exhibition 1896-97- E O’Callaghan) This certificate was one of many awards for competency and /or excellence in a wide range of activities and skills. Warrnambool Industrial & Art Exhibition 1896-1897 Competitions-Piano forte solo Gertrude Lewin- prizewinner W J Hickford- Mayor E Lyle Rossiter As a link to one of the biggest events ever held in Warrnambool this item has significant value to the history of Warrnambool. It has social significance also linking a number of names related to the event. Rectangular cardboard. pale cream and aqua background, multi linear gold and deeper aqua border with rounded and right angled corners. An interior border has a swag, linear vertical ribbons with four emblems related to science, labour, arts and industry. Four local black and white photographs, the town council crest and town officials, patron and councillors. An inscription of the prizewinner, event and signatures is written in a cream square in the middle of the certificate.Warrnambool/Industrial & Art Exhibition Opened Dec 21st 1896/ By the Chief Justice of Victoria/ Sir John Madden, K.C.M.G. upper L corner. Closed March 19th 1897/ By the Mayoress of Warrnambool/ Mrs WJ Hickford 'First Order of Merit/ Awarded to Gertrude Lewin/ of Parkville/ for Piano forte Solo (under 15) Signatures of WJ Hickford, President and E Lyle Rossiter, Secretary gertrude lewin, wj hickford, e lyle rossiter, the great warrnambool exhibitiion, warrnambool, pianoforte

This chapel organ, or pump organ, was made by the Packard Company of Fort Wayne, USA. It was purchased locally from John Broadwood Shepherd & Son of Liebig St, Warrnambool. The donor advised that it was played for many years in the Winslow Presbyterian Church, southwestern Victoria (on Caramut Road, now a private residence). The serial number of the organ dates to be no older than 1887 and no younger than 1901, according to The Pump Organ Society. The goals of The Packard Company, as quoted from the Fort Wayne Gazette, 6th August 1873 are summarised as such; “In the first place, it was determined to make an organ which should be excelled by none. …. It is interesting to the uninitiated to watch the different processes which literally convert the trees of the forest into the marvellous instruments which sound the praises of God in thousands of churches and Sabbath Schools, or make sweet music in multitudes of homes.” The music store of John Broadwood Shepherd and Son had an “impressive” stand at The Great Warrnambool Exhibition of 1896 – 1897 and received a medal for its exhibit. It was also involved in the community, sponsoring prizes for the Musical and Recital Competition, which was part of the entertainment for the Exhibition. The “Warrnambool Standard” newspaper has reference to John Broadwood Shepherd and Son in a newspaper of 1887 and another dated April 13, 1901. A brief history of the Packard Company: 1850, Isaac T. Packard joined with Nelson J. Foss and Calvin Hatch to form Packard, Foss, & Co., manufacturing reed organs, seraphines, and melodeons 1871 the Fort Wayne Organ Company was formed, and Isaac Packard has 40 shares. 1872 the first organ was completed 5th Sept 1899, “Fort Wayne Organ Company” was officially changed to “The Packard Company” 1908 – 1914 (different dates given) the Packard Company ceased producing organs and specialised in pianos. 1930 company went into receivership 1935 the city of Fort Wayne acquired the former Packard Company property, tore the buildings down and turned it into a park, now known as Packard Park. The organ is significant to local history for being sold by a Warrnambool business and played at a local chape or church. It represents community and religious life in late Victorian times.Chapel organ or pump organ (with stool), dated not before 1897 and not after 1901. Medium brown timber with fretwork and turned spindles, Manufactured by Packard, Fort Wayne U.S.A. Organ was purchased from John Broadwood Shepherd & Son, Liebig St, Warrnambool. Serial number is stamped into the wood, rear of organ. lower right panel. Pedals are covered in carpet and each has the maker's name on the lower part of the pedal frame. The keyboard has five octaves and twelve stoppers.Words on front panel “Packard Organ / Fort Wayne Ind. U.S.A. / JOHN BORADWOOD SHEPHERD & SON, / LIEBIG STREET, WARRNAMBOOL.” Serial Number "48870"flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime village, flagstaff hill maritime museum, maritime museum, great ocean road, pump organ, packard organ, fort wayne usa, john broadwood shepherd & son, john broadwood, winslow victoria, church music, musical instrument, john broadwood shepherd and son, presbyterian church, winslow presbyterian church, the great warrnambool exhibition 1896-1897

This Minton floor tile is from the wreck of the LOCH ARD along with other examples of this manufacture recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on June 1st, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line ships that sailed from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed 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 recently married, 29-year-old Captain Gibbs. It 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, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors 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 and was presented with a medal and some money. 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. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. A square Minton floor tile with a black and apricot pattern against a chocolate brown background. There is a large chip missing. This decorative floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.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, encaustic tile, melbourne international exhibition, floor tile, minton floor tile

This Minton floor tile is from the wreck of the LOCH ARD. Other examples of this manufacture have been recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on the early morning of June 1, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from gold and wool was increasingly being spent on magnificent private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased within the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) that were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast.The Minton encaustic floor tile is significant for its method of manufacture which makes it durable as well as decorative. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A square Minton floor tile with a black and beige pattern against a white base. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of 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 square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill 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, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

The design of this small disc is from the Australian Colonial period. The cedar wood desk was made in Australian by Foy & Gibson in the 1880s, most probably in the business’s works in Collingwood, Victoria. The heavy brass locks fitted into the desk drawers were made by the famous Hobbs & Co of London, mid-late 19th century. In 1860 the business changed hands but the locks were still branded Hobbs & Co. The desk is branded with the symbol of Victoria’s Public Works Department. There is currently no information on when, where and by whom this desk was used. However, a very similar desk with Hobbs & Co. locks is on site at the Point Hicks Lightstation in Victoria and was formerly used by the Point Hicks head light keeper there. Other light stations also have similar desks from the P.W.D. (see also ‘Desk, Parks Victoria – Point Hicks Lightstation, Victorian Collections’.) HOBBS & CO., LONDON Alfred Charles Hobbs, 1812-1891, was American born. He became an executive salesman in 1840 for renowned lock manufacturer Day & Newell. His technique of exposing the weaknesses of people’s current locks was very successful in generating sales. He represented Day & Newell at London’s Great Exhibition of 1851, competing with other lock makers. Through the Exhibition he became famous for picking the best trusted Bramah and Chubb locks. Hobbs’ fame led him to found his own company in 1851 then register it in 1852 as Hobbs & Co., London. Hobbs was awarded the Telford Medal by the British Institution of Civil Engineers in 1854 for his paper 'On the Principles and Construction of Locks'. In 1855 the very successful company added partners and became Hobbs, Ashley and Co. In 1860, it traded under the name of Hobbs, Hart & Co. and was based in Cheapside London, where the business remained. Hobbs then returned to America, having sold the complete company to John Mathias Hart. He briefly returned to attend the 21st anniversary celebrations of the successful business in 1872. Hobbs kept himself busy in America, inventing and manufacturing firearm ammunition, for which he held several patents. He passed away there in 1891, a month after his 70th birthday. FOY & GIBSON Mark Foy wan an Irish draper who migrated to Bendigo, Victoria in 1858, attracted by the gold rush. He lived and worked in the area, establishing a drapery business. In the 1870s he moved to Melbourne where there were better prospects for expansion. He chose a place in Smith Street, Collingwood, a suburb of Melbourne, and started his business at the rear. In 1883 Foy retired, bringing in William Gibson as a partner, and then transferred his own share of the company to his son Francis Foy. Not long afterwards Francis sold his half share to Gibson, and the business continued under the name of Foy & Gibson. Francis Foy and he and his brother Mark Foy (junior) moved to Sydney. They established a business there in 1885, named after their father, Mark Foy. Gibson added to his business by starting his own manufacturing works from 1887, producing clothing, millinery, furniture, bedding and hardware for his stores. The factories, warehouses and stores complex became one of Victoria’s largest employers. He set up branches of his stores in Perth, Brisbane and Adelaide and two more branches in Melbourne. Foy & Gibson (usually referred to as Foys) became one of Australia’s largest retail department stores. In 1931 Foy’s little house in Collingwood was still part of the entrance to Foy & Gibson Emporium. In 1955 the company was bought out by Cox Brothers. Later on the stores were sold to various businesses such as David Jones, Woolworths and Harris Scarfe. In 1968 Cox Brothers went into receivership, ending almost 100 years of the business known as Foy’s. The former Foy & Gibson Complex is registered by Heritage Council Victoria. “Designed by William Pitt, this magnificent 19th and early 20th century complex of factories, warehouses and showrooms saw the production of a remarkable range of goods for Foy & Gibson, Melbourne’s earliest department store chain”. (Quoted from the Plaque erected by the Collingwood Historical Society 2007) P.W.D. – Public Works Department, Victoria The desk is stamped “P.W.D,” signifying that it is from the Public Works Department in Victoria, which operated from 1855-1987. The department was responsible for, among other things, the design and supply of office furniture and equipment for public buildings and organisations. This desk is significant historically as it originated from Foy & Gibson, a colonial Australian company that had a positive and strong impact on employment, manufacturing and retailing in Melbourne, Victoria and Australia. The significance of Foy & Gibson to Victoria’s and Australia’s history is marked by the Collingwood Complex being registered in both Heritage Victoria Register (H0755, H0897 and H0896) and National Trust Register (B2668). This locks on this desk are significant for their connection with their manufacturer, Hobbs & Co, who invented a lock that surpassed the security of any other locks produced in the mid-19th century. Desk; Australian Colonial cedar desk, honey coloured. Desktop has a wooden border with a rolled edge and a fitted timber centrepiece. The four tapered legs are tulip turned. Two half-width drawers fit side by side and extend the full depth of the desk. The drawers have dovetail joints. Each drawer has two round wooden knob handles, a keyhole and a fitted, heavy brass lever lock. Inscriptions are on the desktop, drawers, desk leg and lock. Made in Australia circa 1880 by Foy & Gibson, lock made by Hobbs & Co, London.Impressed into timber frame of one drawer “FOY & GIBSON” Impressed into lock “HOBBS & CO / LONDON”, “MACHINE MADE”, “LEVER” Impressed along the front edge of the desktop [indecipherable] text. Impressed into the timber of right front leg “P. W. D.” below a ‘crown’ symbol Handwritten in white chalk under a drawer “206” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, desk, cedar desk, colonial desk, 1880s desk, australian colonial furniture, furniture, office furniture, office equipment, australian made furniture, colonial furniture, colonial hardware, foy & gibson, alfred charles hobbs, hobbs & co london, hobs & co lever lock, cabinetry lock, machine made lever lock, p.w.d., public works department victoria, day & newell, great exhibition of 1851, bramah lock, chubb lock, telford medal 1854, cheapside london, mark foy, mark foy – bendigo draper, smith street collingwood, william gibson, foy & gibson emporium, foy & gibson complex, cox brothers

The lathe-making business incorporated in 1902 as Drummond Bros Ltd originated in the fertile mind of Mr Arthur Drummond, said to have been living at that time at Pinks Hill, on the southern edge of Broad Street Common, west of Guildford. Mr Drummond, whose accomplishments included several pictures hung in the Royal Academy, was unable to find a lathe suitable for use in model engineering. In 1896 he designed for himself a ‘small centre lathe … which had a compound slide rest with feed-screws and adjustable slides’. He also designed and built ‘lathes of 4.5 inch and 5 inch centre height, which had beds of a special form whereby the use of a gap piece was eliminated but the advantages of a gap-bed lathe were retained’. Assisted by his brother, Mr Frank Drummond, who had served an apprenticeship to an engineering firm at Tunbridge Wells, the first lathes were made in a workshop adjoining Arthur Drummond’s house. The demand that speedily built up led to the decision to form a company and manufacture the lathes for sale commercially. Land was acquired nearby, at Rydes Hill, and the first factory built. The enterprise was a success, and the company quickly established ‘a high reputation in this country and abroad for multi-tool and copying lathes, and gear-cutting machines’. Other lathes were added to the range, including the first of the ’round bed’ machines for which the firm became widely known. A Drummond 3.5 inch lathe was among the equipment of Captain Scott’s 1912 expedition to the South Pole, and large numbers of 3.5 inch and 4 inch designs were exported to Australia, Canada and India. By the outbreak of war in 1914, 5 inch, 6 inch and 7 inch screw cutting lathes, arranged for power drive, were on sale. Large orders were received from the government for 3.5 inch lathes, for use in destroyers and submarines, and 5 inch lathes for the mechanised section of the Army Service Corps. The latter were used in mobile workshops. The factory worked night and day to supply the forces’ needs, until production was disrupted by a fire which destroyed a large part of the works in May 1915. As soon as rebuilding was complete work restarted. At the end of the war the entire production was being taken by the Government departments, a special feature being a precision screw lathe, bought by the Ministry of Munitions in 1918. Between the wars Drummond Bros Ltd introduced new machines for the motor vehicle, and later the aircraft industry, and the works were extended on many occasions to fulfill the increasing orders. The Maxicut multi-tool lathe (1925), designed for high-production turning operations, was one of the first machines of this type to be built in England. It was followed (1928) by an hydraulic version for turning gear blanks, and similar work. Further developments provided machines which, during the Second World War, turned all the crankshafts and propeller shafts for Bristol engines. Others, ordered by the Ministry of Supply were employed in turning shells, and many other specific needs of vehicle and aircraft manufacture were catered for by new types of Drummond lathes. Production of the small centre lathes ceased during the war when the company needed to concentrate on building multi-tool lathes and gear shapers. After the war a completely new Maxicut range was introduced, replacing the older versions, and fully automatic. The types were continually developed, and new versions manufactured until the end of the company’s life in 1980. The disappearance from the scene of Mr Arthur Drummond in 1946, and the end of the company’s autonomous existence in 1953 when the company was acquired by William Asquith Ltd, which was in turn bought by Staveley in 1966, meant that the factory at Rydes Hill became one – albeit very effective – part of a large national engineering company. Achievements at the Guildford works during its last years included the development of automated Maxicut gear-shapers in what was ‘probably the most fully automated gear shop in the country’, while a machine from Guildford was sent to the Osaka Fair in 1962. In 1963 an agreement was signed with Hindustan Machine Tools for the manufacture of Maxicut gear-shapers in state owned factories in Bangalore and Chandigarh. During 1963 the two largest multi-tool lathes ever made in the UK were installed in Ambrose Shardlow’s works in Sheffield for handling cranks up to 14 foot long. In 1976 Drummond lathes were included in Staveley’s £14,000,000 installation in Moscow of an automated production line for Zil motor cars. Up to the end invention continued at Guildford: a new Drummond Multi-turn memory-controlled machine was shown at the International Machine Tool Exhibition in 1977. This could not save the works from the pressures of the late 1970s, and Staveley Industries closed its Guildford site in 1980.An early example of a lathe that was designed primarily for the hobbyist model maker. It is in good condition and sought today by collectors as many of it's attributes were innovative at the time and lead to further development and incorporation of some of its features into more industrial models of production machinery. Lathe, round bed, treadle powered lathe, Drummond Type A, Serial number and maker's inscription. 1920-1923, Made by Drummond Brothers in Guildford, Surrey, England. Lathe is complete with Chuck, Tool post and Tail Stock in situ (30 extra parts)"MADE BY DRUMMOND BROTHERS LIMITED - PATENT TEES - RYDE'S HILL n GUILDFORD SURREY", "Serial Number 01470," "L44" or "L45 " flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, lathe 1920-1923, round bed lathe, treadle lathe, drummond type a, guildford surrey, drummond brothers guildford surrey england, tread'e

This Tangye B-size, single-cylinder, horizontal steam engine was likely manufactured in England around the mid-1880s. It was distributed by Melbourne machinery merchants Cameron & Sutherland, which also operated in Bendigo and Ballarat. A local cheese maker once used the engine to drive factory equipment. It was later donated to the Warrnambool Technical School, which then donated it to Flagstaff Hill to add to its historical steam engine collection. Between its manufacture and its donation to Flagstaff Hill, the governor had been replaced by the current Pickering governor. This engine design was very popular in the late 19th and early 20th centuries. When connected and powered up, the engine could drive an overhead line shaft via a flat belt off its flywheel. The line shaft would then drive the machinery via flat belts. It could drive virtually any type of machinery, such as water and sewerage pumps, mine elevators, winches, cranes, metal forges, air blowers, and marine machinery. This engine features a mechanical governor, which controls the speed of the engine regardless of whether it is under load. It also has a water pump built into the valve rod, which is used to supply the boiler with water. Steam enters the cylinder via a slide valve and applies pressure to the piston; it is like a modern internal combustion engine, but in the case of the steam engine, the pressure is exerted in turn on either side of the piston. In other words, the connecting rod is pushed by steam via the piston and piston rod and then pulled back again by steam pushing on the opposite side of the piston. Thus, power is exerted almost continuously, except at the end of each piston stroke, when it reverses direction. In the 1880s, many local butter and cheese manufacturers installed Tangye steam engines to power their machinery. A comprehensive article in the Gippsland Mercury in September 1889 extolled the magnificence of the Farnham Butter Factory in Dennington, Warrnambool, and described how one Tangye engine was used to drive several machines in the cheese- and butter-making processes. A report in the Warragul Guardian in December 1890 notes that the newly opened Warrnambool Butter Factory used a Tangye steam engine to pump water from a 60-foot well. Tangye: Richard Tangye (1833–1906) and four of his brothers—James, Joseph, Edward, and George—were the sons of Joseph Tangye, a Quaker Cornish miner. In 1857, they founded the engineering firm Richard Tangye & Brothers in Birmingham, UK. In 1860, the firm became Tangye Brothers and moved to Cornwall Works in Birmingham. The business encouraged inventors to join the company and develop their patents there, as happened with Weston’s differential pulley block, invented by the Englishman Thomas Aldridge Weston in 1854. Tangye bought the patent in 1858, giving the firm the sole right to manufacture it. The design received a medal for “original application, practical utility and success” at the 1862 International Exhibition in London. Also in 1858, the Tangye firm was commissioned by Brunel’s shipping company to manufacture hydraulic lifting jacks, or rams, to launch the steamship SS Great Eastern. The success of this project brought favourable attention to the firm, and it became involved in other notable projects, including the erection of Cleopatra’s Needle in London in 1878 and work on the Forth Road Bridge in Scotland. The firm underwent several name changes over the years, including James Tangye and Brothers (1857), Tangye Brothers and Price (1859), Tangye Brothers (1860), Tangye Brothers & Holman (1876), Tangye Brothers (by 1878), Tangye Ltd. (1881), and then simply Tangye. Its machinery and equipment were exported worldwide. In 1884, a branch with showrooms, offices, and a warehouse was opened in Melbourne at Cornwall House, Collins Street West. The firm was well known for producing high-quality machinery for agriculture and industry. Even today, new Tangye machinery is available for a subsidiary of Allspeeds. An extensive account of the firm’s history, names, inventions, and further references is available in Grace’s Guide, which also includes references to and diagrams of the Tangye horizontal steam engine. The horizontal steam engine was made by the well-known engineering firm Tangye, known for its high quality of manufacture. It was an important development in machinery because it helped improve productivity. Engines of this type are still used in some parts of the world today. This engine is a good example of a late 19th-century steam engine used in industry and agriculture and adapted for many different purposes. It is also important locally because it was connected to a local cheese making business and part of the thriving western district dairy industry. It may have been one of the Tangyes engines used at the Farnham butter factory or the Warrnambool Butter Factory, which was reported to be one of the most important in the Colony. It is also connected to the Warrnambool Technical School, established in 1968. Steam engine: stationary Tangye Size B, single-cylinder, horizontal Mill type steam engine. It has a 4-inch diameter cylinder with an 8-inch stroke. The body is painted green, and the Pickering governor is red. It was manufactured in Birmingham, England, in accordance with Tangye's Patent 238930, and distributed by Cameron and Sunderland, Melbourne, in the mid-1880s. TANGEYS PATENT BIRMINGHAM B SIZE 238930 CAMERON & SUTHERLAND MELBOURNE THE PICKERING PORTLAND . GOVERNOR . CONN. U.S.A.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, machine, invention, engine, steam, steam engine, horizontal steam engine, tangyes horizontal steam engine, stationary steam engine, single cylinder steam engine, manufacturing, farming, pumps, lifting equipment, engines, machine tools, hydraulic rams, hydraulic pumps, steam pumps, differential pulleys, mill type steam engine, 4 inch cylinder, weston’s differential pulley, thomas aldridge weston, 1862 international exhibition in london, brunel, ss great eastern, cleopatra’s needle, forth road bridge, cornwall house, collins street melbourne, agricultural machinery, industrial machinery, allspeeds, dairy, pump, richard tangye & brothers, james tangye and brothers, tangye brothers and price, tangye brothers, tangye brothers & holman, tangyes ltd., tangye, richard tangye, james tangye, joseph tangye, edward tangye, george tangye, cornwall works, birmingham, pickering governor, pickering portland connecticut usa, 19th century, dairy plant, steam power, tangye's patent 238930, tangye b size engine, cameron & sutherland, machine merchants, 1880s, mid-1880s, cheese manufacturer, butter manufacturer, diary industry, warrnambool technical school, belt driven machinery, agriculture, mechanical governor, farnham butter factory, warrnambool butter factory

This document, also referred to as a word picture or Tablet, is framed in glass and timber with gilt trim, is handwritten with colour highlights. The penned letters rest on ruled guide lines, decorated where the lines intersect. The writing gives a description of the state of Borough of Warrnambool around 1875; its location, the area it covers, its population, Harbour and facilities, public buildings and institutions, imports and exports, financial worth, number of houses, connection with other areas of the Colony. A possible reason and origin for the document is found in an article ‘Link with US Exhibition’ from the Warrnambool Standard of December 19, 1981, written by local historian Bruce Morris. The writer mentions that the Warrnambool Borough Council met on 15th June 1875 and recorded a letter from G.C. Levey , secretary to the Melbourne group of commissioners representing the Colony, and Victoria in particular, for the Philadelphia Centennial Exhibition of 1876. The letter asks Council to provide “statistics as to the population, social condition and commercial and industrial state of the district in and around Warrnambool.” A sub committee was formed for the project. The Mayor, Cr. Thomas King, wrote and signed a Report, presented to the council on July 14, 1875, in which “The Committee … begs to recommend that a Tablet be prepared setting for the particulars respecting the following matters relating to the Borough”. The matters included area, population, annual income, churches, schools, other public buildings, societies and companies, general description of houses erected, and returns of exports and imports for 1874. The minutes note that the Report was adopted. The article above also notes the opinion of Warrnambool printers who have examined the document; it is almost certainly to be an old lithograph, which means there could be several copies. It is possible that there may be a copy in Melbourne and another in Philadelphia. It is interesting to note that (1) the quoted location co-ordinates are for an “Unnamed Road, Packsaddle NSW 2880, Australia”, and that the DMS co-ordinates for Warrnambool’s Council Offices differ, being 38.23.9.12 South, 142.28.52.887. (2) the date for “Exports and Imports for the Year Ending 30th June 1875” is different to the period mentioned by Cr. King in the sub committee’s Report of recommendation “returns of exports and imports for 1874”. The information required to have the figures for the end of June 1875 would need to have been compiled very quickly for the Tablet to be ready for the opening of the Philadelphia Exhibition on 10 May 1876. The document/certificate shows the following – - - - - - - - - - - - - - - -- - - - - - - - - - - - - - -- - - - - - - - - - - - - - -- - - - - - - - - - - - - - - “Victoria Australia, Borough of Warrnambool. Latitude, 30.24.50 South, Longitude 142.32 East The Principal Port in the Western District of the Colony and the Centre of its Choicest Agricultural Lands. Established a Municipality in 1855, and Created a Borough 1863. Population in 1875 4,500. Warrnambool is the nearest Port to Melbourne on the Western Seaboard, being about 160 miles distant. Coaches run to and from the Metropolis daily, in connexion [connection] with the Railway of Geelong and Steamers belonging to Local Companies sail between Melbourne, Warrnambool, Belfast [renamed Port Fairy], and Portland several times weekly. The Harbour is known as Lady Bay, and is partially protected by a reef of rocks stretching from the mouth of the Hopkins River. The formation of a Breakwater has been decided upon by the Government, to extend 600 yards, at an estimated cost of £100,000. There are two substantial Jetties, one of 800 and the other of 600 feet in length. The former is connected with the Town by means of a Tramroad, along which Goods, inwards & outwards, are conveyed, & the latter has been constructed solely for the purpose of facilitating the transit of material for the formation of the Breakwater. In addition to the trade of the Borough and District, the principal Townships up country receive their supplies from Melbourne and ship their exports through Warrnambool. Potatoes form the staple produce of the district, and the richness of the soil can be estimated by the fact that the Government Statistics for 1875 give as the average yield a return of Seven Tons to the acre. Several thousand acres between Warrnambool and Tower Hill are now being laid down in Potatoes by Tenants who have leased the lands at rates up to £5 per acre for the season 1875-6. Wool, Tallow, hides &c are also largely exported, while the shipments of all descriptions of Farm Produce are annually increasing. Area of Borough, 3362 Acres. Net Annual Value £27,000. Annual Revenue £5,500. Number of Houses in Borough 800. Public Buildings and Institutions Churches. Church of England, Roman Catholic, Presbyterian, Wesleyan, Congregational and Baptist. Schools. Three State Schools, average attendance nearly 1000. New Building in course of erection. Several private establishments. Banks. Bank of Australasia, Bank of Victoria, National Bank, Colonial Bank and Savings Bank. Public Buildings. Court house, Custom house, Post & Telegraph Offices, Survey & Land Offices, Shire £, Town Hall, Mechanics Institute, Volunteer Orderly Room, Odd Fellows Hall, Hospital & Benevolent Asylum, Temperance Hall &c. Companies & Societies. Steam Navigation Co, Woolen Mill Co, Gas Co, Racing Club, Amateur Turf Club, Agricultural Society, Farmers’ Club, Cricket Club, Anglers’ Society, Building Society, Freemasons Odd Fellows, Foresters, Druids, Hibernians. Protestant Alliance, Rechabites, Sons of Temperance, &c, Fire Brigade &c. --- Exports and Imports for the Year Ending 30th June 1875 –-- --Exports Total Tonnage 27,800 (Calculated at the Current Warrnambool Market Prices) Potatoes Wool Wheat Barley Hides Skins Fowls Butter Cheese Eggs Tallow Leather Ale Pigs Sheep Sundries --Imports 13,000 Tons Of the Estimated Value of £520,000 Total Tonnage of Exports and Imports 40m900 Tons, Value £806,627 Passenger Travels, to ad from Warrnambool during year, 10,000 persons Revenue from all sources paid through Warrnambool Sub Treasury From 1860 to June 1875 £1, 292, 300 Thomas King [signed] Mayor Henry T Read [signed] Town Clerk” - - - - - - - - - - - - - - -- - - - - - - - - - - - - - -- - - - - - - - - - - - - - -- - - - - - - - - - - - - - - The document is of historical, social, economic and local significance in that it summarises activities, business, community, trade, travel and government at a point in time in Warrnambool’s history – 30th June 1875.Document, also referred to as a ‘word picture’ or ‘tablet’. Document is framed in glass and timber with gilt trim, handwritten with colour highlights. The penned letters rest on ruled guide lines, decorated where the lines intersect. Document outlines the establishment of Warrnambool as a Municipality in 1855 and Borough in 1863, with a population of 4,500 in 1875. It states geographic location, public buildings and institutions, harbor facilities and imports and exports for the year ending 30th June 1875. Two signatures "Thomas King" Mayor and "Henry T Read" Town Clerk. It shows the Coat of Arms of the Borough of Warrnambool.Signatures - "Thomas King" Mayor and "Henry T Read" Town Clerk. Warrnambool Coat of Arms; “British Coat of Arms, above sailing vessel and sheaf of wheat in sun, motto “By these we flourish” and around circumference “Borough of Warrnambool 1855”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, borough of warrnambool, municipality of warrnambool, document borough of warrnambool 1875, word picture of warrnambool 1875, tablet of borough of warrnambool 1875, statistics borough of warrnambool 1875, lithograph borough of warrnambool 1875, coat of arms warrnambool, warrnambool city motto – in these we flourish, establishment of warrnambool, warrnambool history, thomas king mayor of warrnambool, henry t read town clerk of warrnambool, warrnambool breakwater, warrnambool jetty, warrnambool imports and exports 1875, warrnambool agriculture 1875, warrnambool business 1875, warrnambool population 1875, centennial exhibition philadelphia 1876, framed certificate

Australia became a Federation on January 1st, 1901, uniting Australia's six British colonies - New South Wales, Victoria, Queensland, South Australia, Western Australia and Tasmania – into States of the Commonwealth of Australia. The Government of Victoria invited 12,000 guests to attend the official celebrations for the Opening of the Federal Parliament by His Royal Highness, the Duke of Cornwall and York (later King George V). The historic occasion was held at noon on May 9th, 1901, at Melbourne's Royal Exhibition Building, the only building large enough for that number of guests. The guests represented all six states of Australia with varied connections and interests, including politics, business and industry, the arts, religion, education, and public service. In Melbourne, the occasion was followed by two weeks of celebrations. The decorative, elaborate design of the certificate-size invitation represents Australia’s colonial history and its transition to the Federated Commonwealth of Australia. The National Gallery of Australia attributes the artwork of this invitation to Australian artists Norman Lindsay (1879–1969) and John Longstaff (1861–1941) and its printing to Sands & McDougall Limited, Melbourne. The invitation has no date or location details. This invitation has the label “Mr. C Swinburne” added over an original, handwritten name. Perhaps it was a spelling correction, or a late change, with Swinburne attending in the place of another citizen. The book “Our Invited Guests An Official Directory, Melbourne, Victoria, 1901” lists all the guests, but not one has the surname SWINBURNE. There are five Warrnambool listings, eight people in all: - - MoCOBMICK, G. D., Esq., P.M., Warrnambool. - O’DOWD, The Ven. Monsignor, Warrnambool. - OPIE, C. N. T., Esq. (and Lady), Warrnambool. - OSBORNE, Hy. Wm., Esq., Shire Secretary (and Lady), Town Hall, Warrnambool. - STEVENS, Mrs. F. P., Mia Mia, Warrnambool. CHARLES GRANT SWINBURNE (1864-1934): - Charles Grant Swinburne, known as Chas.., was a prominent Warrnambool figure: a member of Toc H., the Progress Association and several other local clubs and societies. He purchased Warrnambool’s Tattersall’s Hotel in 1911 and had a booth at the 1914 Warrnambool Show. In 1891, he married Susan Jane Granter (1867-19 June 1935), daughter of Joseph Granter (1832-1879) and Ann (born Holley). Joseph had arrived in Melbourne on the famous tall ship Marco Polo in February 1856. In 1868, he was a shareholder of the Warrnambool Steam Packet Co., trading along the coast of Victoria. His portrait is among those recognised on the historic Warrnambool Pioneers Board. The invitation is nationally significant for its connection with the first Federal Parliament in May 1901, where the first federal parliamentarians were sworn in, and where the Duke and Duchess of Cornwall and York attended, representing the continued link with Britain. The invitation also unites a local Warrnambool businessman, Mr C Swinburne, with the 12,000 guests representing their towns and states that in 1901 became the Commonwealth of Australia. Swinburn was also married to the daughter of Joseph Granter, an early pioneer recognised on Warrnambool’s Pioneer Board. Invitation: certificate size, colour lithograph on cream card with gilt highlights. The Victorian Government invited Mr C Swinburne to celebrate the Opening of Federal Parliament by HRH the Duke of Cornwall and York, held in Melbourne. The invitation has printed drawings of figures, decorations, heraldic symbols, and gilt accents behind the central figure, on the capital letters of the message, and the Advance Australia Arms. Inscribed with a handwritten label that covers handwritten text. [The event was held at Noon, 9th May 1901, Royal Exhibition Building, Melbourne.] Inscription, handwritten on a label: "Mr. C. Swinburne" Left image: [figure of Britannia holding a blue shield with three crossing red bands, standing below an oak tree] Central image, in front of a gilt circle : [symbolic female royal future with Orbe and Sceptre seated on throne, four stars around her] Right image: [young female figure representing Australia holding a scroll, standing below a flowering gum] "THE CONSTITUTION OF THE COMMONWEALTH OF AUSTRALIA" Bottom left: Combined Arms: "[Duke of Cornwall and York, Prince George Frederick Ernest Albert, Princess Alexandra, his Duchess]" Bottom centre: [six symbols representing the Coat of Arms for each state of Australia] Bottom right: Advance Australia Arms "[Shield with six symbols, between Kangaroo and Emu, and below Rising Sun'] ADVANCE AUSTRALIA"flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, invitation, certificate, mr c swinburne, government of victoria, opening of federal parliament, hrh the duke of cornwall and york, c swinburne, susan jane granter, susan jane swinburne, federal parliament, 1901, australian federation, ceremonies, politics, royal exhibition building, invited guest, britannia, orb, sceptre, advance australia arms, constitution of the commonwealth of australia, norman lindsay, john longstaff, sands & mcdougall, federation, british colonies, commonwealth of australia, charles grant swinburne, chas swinburne, c g swinburne, opening of the federal parliament, duke of cornwall and york, may 9th, tattersall’s hotel, marco polo, warrnambool steam packet co, warrnambool pioneers board, joseph granter, ann granter

The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles These spectacles and case were used by Dr. Angus in his surgery in Warrnambool to test patients' eye sight. They were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus for testing the sight of his patients. Black rimmed spectacles in tan, open ended pouch. Inscription is stamped into frame and printed in gold lettering on the case. c. 1969 Inscriptions read on spectacles;“52 (square) 18” and “RODENSTOCK > ELBA < 130“ and printed in gold lettering on the pouch “DOBBIE BROS. / OPTOMETRISTS & OPTICIANS / 173 EXHIBITION ST. MELBOURNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, spectacles and case, optical testing, optometrist examination, dobbie bros melbourne

This painting shows a historic depiction of Australian whalers in action at sea, and shows the scale of man to whale. Whaling was one of the first industries in early Victoria. John Dollery was born in London in 1933. As a child he loved to draw and was a frequent visitor to the National and Tate Galleries. In 1957 Dollery came to Australia, settling in Queensland in 1965. After receiving a prize in a drawing exhibition, he began painting in oils, and is entirely self-taught. Whilst in Queensland he painted most of his canvases strictly from life and in 1977 he moved to Melbourne where he established himself as a full-time artist. John was very interested in Australia’s history, and most of his work represents this theme. Many of his pieces are in collections both in Australia and overseas. Dollery’s daughter is also an artist and has exhibited both her father's and her own works together in an exhibition 'Now and Then, Father and Daughter'.The painting is a significant work by artist John Dollery. Its subject of whaling shows an early Australian industry and shows the scale of man to whale. The decorative frame is appropriate for the era in which the scene would have taken place.Painting in oil on canvas, in gilt carved timber frame. Seascape, depicting a whale hunt. A spouting whale is behind a whale boat with six whalers aboard. A tall ship with seamen aboard is behind the whale. Two other tall ships and another whale boat are in background. An embossed plaque in bottom centre of lower frame has inscription.. Artist is J. Dollery. Stamped on the sticker “John Dollery / ARTIST / Crown Lot 16 The Esplanade Corinella, Victoria 3984 / Telephone: (056) 78 0644 “ Hand written on sticker “THE CHASE $xxx” Embossed in the wooden frame “30 / ART / Specturm” Signed “J DOLLERY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, whales, whaling, industry, whale oil, blubber, john dollery, the chase, corinella, historic art work, australian art work, australian historic artwork

These cane chairs are one of many 19th-century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the Giles Collection. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858 and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook, and she attended Mailor’s Flat State School and where she eventually became a student teacher. After which she became a governess at “Injemiara”, where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six; some of the children were born at Mailor’s Flat, and later, some children were born at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Heywood & Wakefield Furniture Co: - The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826 as furniture makers, and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897, the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts, closed in 1979, a branch in Menominee, Michigan, continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The Giles family collection has social significance at a local level because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and museum were established. The wicker furniture is a fine example of late 19th and early 20th century lightweight domestic furniture that is today a very collectible item and quite rare and valuable.Armchair: pair of wicker armchairs, painted dark brown. The open wicker weave pattern of a traditional Asian design extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as rolled serpentine arms and back. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. The frames are constructed from bamboo. One chair base (3788.1) has been strengthened with metal bracing. The other chair (3788.2) has the remnants of an orange manufacturer’s tag fixed to the base. The chairs were made from 1897 to 1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Tag, orange with black print: “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, chair, armchair, woven cane, wicker, rolled serpentine, manufa - heywood b – gardne, heywood brothers & wakefield company, usa

This patchwork quilt or bedspread is a modern creation along the lines of the traditional 1800s handmade English paper piecing patchwork quilting craft. It is made from reproduction fabric and quilt designs and represents the bed linen typical of a late 19th-century bedroom. Years ago, patchwork was a form of recycling, where leftover or previously used pieces of fabric were used to create other useful item such as quilts, rugs, cushion covers and jackets. Special projects were sometimes made with fabrics representing special memories, such as pieces from baby clothes, wedding gowns, and school uniforms. The maker would use a cardboard template shaped like a hexagon, place it onto the fabric and trace around it. Often the cardboard was cut from a box such as a cereal box. Women would gather to work on their patchwork while enjoying their social time together. As in the case of this quilt, members of the South Western Branch of the Embroiderers Guild in Warrnambool worked on the project, designing and quilting as a group to achieve their aim, of presenting the quilt to the recently opened Flagstaff Hill Maritime Museum. It was the first Group Project of the Branch which was formed in 1974. In 1975 the members decided to make a Quilt as a project to promote the formation of friendship and togetherness. Under the foundation Treasurer, Rita Williams, members sourced their own fabrics for the 'flowers' which were then stitched into the calico borders. Provision was made for the quilt to be hung for display, with the addition of loops along one edge. The local disability services employees and members cut out octagonal paper batches and used their own fabrics to piece them together. The Branch's first exhibition raised funds for buying fabric and equipment to assemble the patchwork. The quilt was perfectly suited to dress the bed in the Lighthouse Keeper's Cottage. This carefully created and designed, recently made patchwork bedspread typifies bedding and handcraft of the late 19th century. The English paper patchwork technique was used. The quilt was the first community project of the South Western Branch of the Embroiderers' Guild of Victoria, and presented as an addition to the Lighthouse Keeper's Cottage tat Flagstaff Hill. Patchwork quilt or bedspread, double bed size, made from hundreds of hexagonal-shaped fabric of various colours and patterns, carefully stitched onto a white background. It was made using the English paper patchwork technique. One edge of the quilt has loops dispersed at regular intervals. This would allow the quit to be used as a wall hanging. It was handmade by the South Western Branch of The Embroiders Guild, Victoria, and presented to Flagstaff Hill Maritime Museum and Village in 1976. An inscription is embroidered in blue on a patch of the quilt. "Made and Presented by The Embroiderers Guild, Victoria (S.W. Branch) 1976"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bedspread, patchwork quilt, quilt, embroiderers guild, bedding, bed linen, 1800's handcraft, quilting, south west branch, warrnambool embroiders guild, recycled fabric, 19th century, household textiles, english paper patchwork, paper patchwork technique

This nameplate is a reproduction of the Ross & Duncan nameplate and was displayed on the Rowitta vessel activation at Flagstaff Hill. Ross & Duncan of Glasgow manufactured marine engines and boilers from the time it was established in 1860 and growing to employ 450-500 workers by 1911. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. It was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. It was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, it was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so it was restored back to its original configuration. The vessel represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of ongoing repairs. The vessel had given over 100 years of service and pleasure to those who knew her. The nameplate was reproduced to represent the Glasow marine engineers and boilermakers, Ross & Duncan, that were the makers of the engine for the exhibition steam ferry Rowitta. The Tasmanian-built vessel had a long career in Tasmania and Victoria. The nameplate is significant for its connection with the Rowitta, representing the importance of coastal traders to transport, trade and communication in Australia in conjunction with the new rail and motor vehicles. The nameplate is a record of an exhibit at Flagstaff Hill Maritime Village from its early beginnings. Maker's brass nameplate; brass, with embossed text and a hole in each corner. The background is painted red. There are five rows of text; the top row is arranged in an arc. On the bottom row is a number. The nameplate is a replica that was once displayed on the Rowitta vessel at Flagstaff Hill. The reproduction nameplate is for the company Ross & Duncan of Glasgow."ROSS & DUNCAN / ENGINEERS / WHITEFIELD WORKS GLASGOW / NO. 779" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, steamer, steam ferry, ross & duncan, marine engineers, marine boilers, glasgow engineers, whitefield works, reproduction, scotland, steamer engine, rowitta, sorrento, ss rowitta, navigation, marine technology, steam power, hobart, tasmania, devonport, tasmanian-built, ferry, 1909, early 20th century vessel, passenger vessel, tamar trading company, tamar river, launceston, george town, tarkarri, speculant, peter mcgennan, p j mcgennan & co. port phillip ferries pty ltd, melbourne, coastal trader, timber steamer, huon, karri, freighter, supply ship, charter ferry, floating restaurant, prawn boat, lakes entrance

The picture postcard is illustrated in a simple, child-like manner. It has a personal message on the back, perhaps sent by an adult called Lily to a young relative or friend. Its rough edges indicate that it may have been torn out of a book or from a sheet of cards. It is one of the hundreds of illustrations by artist Louis Wain, quoted as being "one of the most popular commercial illustrators in the history of England" (IllustrationChronicles.com). English artist Louis Wain (1860-1939) was famous for his illustrations of cats, many of which he gave human characteristics and personalities. Wain married Emily. They owned a cat called Peter who was a great comfort to Emily through her cancer illness and consequent death after only a few years of marriage. At 22 years old Wain gave up his job as a teacher to work full time as an illustrator. He was able to produce hundreds of drawing a year for journals, books, postcards and advertisements. Later he wrote and illustrated children's books. However he didn't benefit much from copyrighting his work as he sold his work to publishers together with the copyright, so reproductions of his works didn't earn him money. Wain said that he owned his career as a cat artist to Peter. Wain spent over a decade in mental asylums before his death in 1939.This picture postcard is an example of the work of Louis Wain, English artist of the 19th and early 20th century. He is famous for his drawings of cats, which he continued producing throughout his life. He is also known for producing the world's first screen cartoon cat, called "Pussyfoot". In 1972 Wain's work was presented at an exhibition in the Victorian and Albert Museum.Rectangular picture postcard printed on think cream card. Picture on postcard is outlined in black and coloured in roughly painted watercolours. The drawing has two cats dressed in armour standing and fighting in front of a turreted castle. The picture is a black framed outline. The artist's printed signature is in the bottom left corner. The artist is Louis Wain. The reverse has a vertical dividing line and a square outline for a postage stamp's location. It also has printed headings. There is a handwritten Pencil inscription. The postcard's left side and lower edge have rough uneven edges.Signature: "Louis Wain." Printed headings: "POST CARD" "THIS SPACE MAY BE USED FOR COMMUNICATION" "THE ADDRESS TO BE WRITTEN HERE" Handwritten on back: "To Dr R - - - - - - / with love / from Lilly"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, postcard, picture postcard, louis wain, fighting cats, child's postcard, cat artist, animal portraits, national cat club, fencing, illustrator, children's books, children's author, children's illustrator, watercolour, cats dressed as humans, cats dressed as knights, popular art, victorian art

The clock parts were discovered in 1980 by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands and then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. This group of brass clockwork parts is incomplete. The pieces were in the ocean for over 100 years before Julie recovered them from the Loch Ard wreck. Their size would suit the works of a carriage clock, with a mainspring and weight to power the clock movement, a pendulum to measure the clock's speed, arbours, posts, pillars and at least one other plate. They would have been mounted inside a protective case with a small door to easily access the clock face for setting the time and accessing the key's winding hole. The clock cases were usually made from decorative gilt brass with a glass front and a carrying handle. The parts include a weighted second hand with a decorative four-pronged finish at one end, a rounded weight at the other, and a hole for attaching it to the clock face. The gear teeth profiles are ‘cycloidal’, an arch shape with vertical sides, which is common for antique clocks. Modern clockworks have ‘involute’ teeth with sloping sides and a squared-off top. The brass carriage clock parts are an example of a mechanical clock produced in the 1870s. The clock's design is a part of the chain of technological improvements in methods for timekeeping. Its cycloidal gear teeth were the forerunner of the more modern involute gears. The group of clock parts includes a weighted hand or arm for signifying the seconds. This feature was uncommon in portable Victorian-era clocks. The clock parts are also significant for their association with the ill-fated sailing ship Loch Ard, wrecked in 1878. The travelling clock or officer’s clock may have been part of the cargo destined for the 1880 Melbourne Exhibition, or the personal possession of one of the people on board the vessel. Brass clockwork parts from a mechanical clock, sixteen pieces. Parts comprise a plate, large gears or wheels, small pinions or wheels with fine teeth, wheels with cogs, and a weighted second hand. The parts were from a carriage clock ca. 1878. They were recovered from the wreck of the sailing ship Loch Ard.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, clock, mechanical, clock parts, time, timekeeper, horology, chronometry, cogs, time keeping device, scientific instrument, chronometer, john harrison, longitude, carriage clock, coach clock, portable clock, travelling clock, travel clock, traveller’s clock, officer’s clock, weighted second hand, victorian era, cycloidal gear teeth, brass clock, julie wilkins

This framed print of the famous clipper ship “Schomberg” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “Schomberg”. The original was painted in 1992 by maritime artist Philip J. Gray. This limited edition print is number 9/1000. ABOUTH THE SUBJECT – “Schomberg” The Schomberg was a luxury ship built in 1855 to bring immigrants from the UK to Australia in superior comfort. The voyage could take three months or longer but Captain ‘Bully’ Forbes thought that he could sail the Schomberg from Liverpool to Melbourne in a record time of 60 days. On October 6th 1855 the Schomberg left Liverpool on its maiden voyage. She carried 430 passengers plus 3000 tons cargo including rail lines for Geelong and iron for a bridge in Melbourne. After 78 days at sea, on December 27th, Schomberg ran aground near Peterborough, Victoria. All on board were rescued the next day by the passing steamer SS Queen. Gray is well known for his depiction of maritime history. His meticulous attention to detail shows the enormity of the immigrant clipper with its huge billowing sails compared to the tiny figures at work on the deck. The busy crew can be seen attending to the rigging, as can a group of sailors working on the bow under supervision. He identifies the company logo of the Black Ball Ship Line by the flapping white flag with its black circle. Divers from Flagstaff Hill including Peter Ronald (former director) salvaged artefacts and personal effects from the wreck, to be preserved and displayed. Amongst these is the famous Schomberg Diamond ring. ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. The subject of the sailing ship “Schomberg” is significant for is connection with the 1800s vessel “Schomberg” and the historic role the ship, and other similar ships, played to transport migrants and goods into Australia. The print is significant as it is a limited edition of an Australian maritime artist. Print in gilt timber frame. "The Colonial Clipper Schomberg" by Australian maritime artist Philip J Gray, 1992. Signed and numbered, Limited Edition print 9/1000. Depicts clipper ship “Schomberg”, in full sail at sea with land in background. Backing of frame has illegible adhesive label and pencilled text. Stamp In pencil “FLAGSTAFF HILL” and “FLAGSTAFF C”. Illegible text on adhesive label. Signature [Philip J Gray] Stamped as a limited edition of SCHOMBERG Handwritten edition "9/1000"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ships, schomberg, clipper ship, colonial clipper, limited edition print, 9/1000, philip j gray, marine artist

Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897 that went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The chair has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and Museum was established. The wicker nursing chair is a fine example of late 19th century light weight domestic furniture that today are very collectible items and quite rare and valuable.Nurse wicker chair, wood, cane and rattan with round rushed seat. The one left arm being that to support the infant during feeding. 1870s-1890s. Believed to have been made by Heywood Brothers & Wakefield Company, USA. flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, great ocean road, 19th century furniture, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company, feeding chair, nursing chair, mother's chair, nursery furniture

This sign is painted on both sides. It was attached to the bluestone wall on the western wing of the Lighthouse Keeper's Quarters, the Assistant Keeper's Quarters, at Flagstaff Hill Maritime Museum and Village for almost 50 years. The Complex was opened to the public on December 11, 1975, and officially opened by Victorian Premier Sir Rupert Hamer on July 8th, 1977. The sign's reverse side reads "Loch Ard Peacock & Museum". The three rooms had displays behind glass showing various ships' fittings, cargo and personal belongings recovered from significant shipwrecks along the southwest coast of Victoria. There was also a display of information about the mysterious Mahogany Ship or Ancient Wreck. The shipwreck artefacts were recovered by local divers in the 1960s and early 1970s. Also on display was the famous Loch Ard Peacock, created in 1873, survived the shipwreck in 1878, was purchased by Flagstaff Hill in 1975 and announced as being on display in The Standard of September 15, 1975. In about 1984 the other side of the sign was painted "SHIPWRECK MUSEUM" and re-displayed on the building. The Loch Ard Peacock was by that time on display in the Entrance building; plans were underway on August 31st 1984 to build a Hall for its unique display. In February 2023 the sign was removed from the building, which was undergoing restoration and preparation for use as a new Temporary Exhibition space. The Loch Ard Peacock continued its journey around the Village; it was moved from the Entrance to the Village's newly completed Public Hal in 1986. It also spent a short time in the Stella Maris Tea Rooms. This was likely around 1998, when the Common School had moved from the Chartroom building to what had been the Public Hall. The Loch Ard Peacock was once again moved in around 2001, this time to be the central attraction and meeting place in the Great Circle Gallery, which opened on December 31st 2002. The sign continued to be displayed on the western wing of the Lighthouse Keeper's Quarters until February 2023. This wing has now been restored and re-fitted to become a facility for short-term exhibitions. A section of the original internal wall frame and wallpaper that couldn’t be kept in the building due to preservation issues have been saved and become sort of the Flagstaff Hill Collection. The sign has guided the visitors of Flagstaff Hill Maritime Museum and Village to the exhibits of artefacts from historic and significant shipwrecks. It has connected the current generations to the people and objects of the past, leading to a better understanding of our Colonial history.Sign, wooden, rectangular, with a hole through each short side. The front and reverse have different painted text. Cream paint for the background colour, green paint for the lettering, and the reverse has a white painted border. The front has an arrow painted on the right-hand side. The sign was used at Flagstaff Hill since its opening.Text on front "SHIPWRECK MUSEUM >" Text on back "LOCH ARD PEACOCK / & MUSEUM"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, sign, building sign, shipwreck museum, loch ard peacock & museum, flagstaff hill history, assistant lighthouse keeper's cottage, assistand lighthouse keeper's quarters, public hall, common school, light keeper

This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of 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 square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill 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, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent

This historic photograph collage displays the members of the Warrnambool Garrison Military Band at the time of the Great Exhibition in Melbourne. It commemorates the visit of the band's members to that exhibition in 1888-1889. Major W.S. Helpman was the commander of the Warrnambool Militia Garrison Artilery at that time. This photograph is significant historically for its record of the members of the Warrnambool Militia Garrison Band of 1888-1889. The photograph connects the band members to the citizens of Warrnambool and their protection by the Militia. It is also significant for the connection of the band with the various local military and community events. The site of the 1888 Warrnambool Garrison and Fortifications at Flagstaff Hill Maritime Village is Victorian State Heritage-listed is significant for its intact and operational nature and is one of the best-preserved pieces of Victoria's early colonial heritage. Black and white photograph collage of the members of the Warrnambool Garrison Military Band. The photograph shows 29 individual portraits of the band members in uniform with their instruments. The photograph was presented to Major Helpmen in commemoration of the visit of the Band to the Melbourne Centennial Exhibition of 1888-89.Printed " Presented / Major Helpman / The members of the Warrnambool Garrison / Military Band / In Commemoration of their visit to the / Melbourne Centennial Exhibition 1888-89" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, warrnambool garrison band, melbourne centennial exhibition, fortifications, volunteer corps, military band, major w.s. helpman, militia, great exhibition

The wooden door was salvaged from the wreck of the sailing ship Eric the Red, which was a wooden, three masted clipper ship. Eric the Red was the largest full-rigged ship built at Bath, Maine, USA in 1871, having had a 1,580 tons register. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) – about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. The ship had been sailing for an uneventful 85 days and the voyage was almost at its end. On 4th September 1880 the Eric the Red approached Cape Otway with a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. He ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats. The mizzenmast fell, with all of its rigging, then the mainmast also fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital for care and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod and samples of wood. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". “The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) Door from the wreck of the ship Eric the Red. The wooden singular rectangular door includes three insert panel sections. The top section is square shaped and is missing its panel or glass. The centre timber panel is about a third of the height of the top panel and the bottom timber panel is approximately equal in height to the total height of the two upper panels. The door fastenings include both a metal door latch and traditional door bolt. They are both attached to the front right hand side of the door. The bolt is just below the top panel, and the door latch is in approximately the centre of that side. The door latch has a round mark where a handle could have been attached. The wood of the door has scraping marks in a semi-circle around the door latch where the latch has swung around on its one remaining fastening and grazed the surface. There is a metal hinge at the top section of the door on the opposite side to the latch. The painted surface has been scraped back to expose the wood. The door is shorter than the average height of a person. On the reverse of the door there are lines on the panels, just inside their edges, is what appears to be pencil. The door is not aligned straight but is skew to centre.warrnambool, flagstaff hill, flagstaff hill maritime village, maritime museum, shipwreck coast, great ocean road, shipwreck artefact, eric the red, jaques allen, sewall, 1880, melbourne exhibition 1880, cape otway, otway reef, victorian shipwreck, bass strait, eric-the-red, door

This model of the ship H.M.S. Lady Nelson was researched and built as the vessel Lady Nelson by David Lumsden, a professional ship model builder. His Majesty's Armed Survey Vessel Lady Nelson was commissioned in 1799 to survey the coast of Australia. This vessel was purpose-built before the British Admiralty requested plans for a Schooner for Port Jackson. At the time large parts of the Australian coast were unmapped and Britain had claimed only part of the continent. The British Government were concerned that, in the event of settlers of another European power becoming established in Australia, any future conflict in Europe would lead to a widening of the conflict into the southern hemisphere to the detriment of the trade that Britain sought to develop. Against this background, Lady Nelson was chosen to survey and establish sovereignty over strategic parts of the continent. Lady Nelson left Portsmouth on 18 March 1800 and arrived at Sydney on 16th December 1800 after having been the first vessel to reach the east coast of Australia via the Bass Strait. Before that date, all vessels had sailed around the southern tip of Tasmania to reach their destination. Lady Nelson's survey work commenced shortly after she arrived in Sydney, initially in the Bass Strait area. She was involved in the discovery of Port Phillip, on the coast of Victoria, in establishing settlements on the River Derwent and at Port Dalrymple in Tasmania. She also successfully chartered much of the Victorian coastline and was heavily involved with the exploration of the Queensland coast with Matthew Flinders; investigated the Hunter River; made numerous visits to New Zealand and Norfolk Island and was involved in the founding of numerous settlements. In comparison to most colonial vessels, the Lady Nelson was technically unique she was fitted with sliding keels, or centreboards, and water-tight trunks reaching to the deck. Captain Schank invented these sliding keels that, when raised, reduced her draught to less than six feet. Her life as an exploration vessel ended while accompanying HMS 'Tamar' to Melville Island in 1825, the 'Lady Nelson' was captured and later abandoned by pirates off the island of Babar (Indonesia). This brought the vessel's 25 years of coastal exploration and navigation to a close.The Lady Nelson made was the first British ship to survey of the southern or south-western coast of Australia and traverse the Bass Strait. The vessel holds a special place in Australia's history of exploration as the first to explore and establish settlements in the then-new British colony of Van Diemans Land. The model gives an insight into what life must have been like onboard sailing vessels of the time and Australia's early history of establishment and exploration. This model acts as an important legacy of the full-scale ship which no longer survives. Ship model of the 60 ton British brig HMS Lady Nelson. Timber model of a two-masted brig with rigging but no sails, displaying the British Union Jack flag. The ship is in a glass exhibition display case on metal stand. HMS Lady Nelsonflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, by captain john schanck, sliding keels or centreboards, lady nelson, british brig hms lady nelson, david lumsden ship model builder, lieutennant james grant, bass strait discovery, surveying king island and port phillip bay, philip gidley king

This medal for bravery, for rescue of the crew from the shipwreck “Eric the Red” on 4th September 1880, was awarded to one of the crew of the steamer S.S. Dawn by the President of the United States in July 1881. The medal is engraved with the name “Nelson Johnson” (the anglicised version of his Swedish name Neils Frederick Yohnson). It was donated to Flagstaff Hill Maritime Village in 2013 by Nelson’s granddaughter. Nelson had migrated from Sweden to Sydney in 1879. The next year in 1880, aged 24, he was a seaman on the steamship Dawn and involved in the rescue of the survivors of the Eric the Red. Nelson Johnson was a crew member of the S.S. Dawn and was one of the rescue team in the dinghy in the early morning of September 4th 1880. Medals were awarded to the Captain and crew of the S.S. Dawn by the President of the United States, through the Consul-general (Mr Oliver M. Spencer), in July 1881 “ … in recognition of their humane efforts in rescuing the 23 survivors of the American built wooden sailing ship, the Eric the Red, on 4th September 1880.” The men were also presented with substantial monetary rewards and gifts. The city of Warrnambool’s care of the survivors was also mentioned by the President at the presentation, saying that “the city hosted and supported the crew ‘most graciously’. Previously, a week after the shipwreck, the Australian Government had also conveyed its thanks to the Captain and crew of the S.S. Dawn “Captain Griffith Jones, S.S. Dawn, The Hon. Mr Clark desires that the thanks of the Government should be conveyed to you for the prompt, persevering and seamanlike qualities displayed by you, your officers and crew in saving the number of lives you did on the occasion referred to. The hon. The Commissioner has also been pleased to award you a souvenir in commemoration of the occasion, and a sum of 65 pounds to be awarded to your officers and crew according to annexed scale. I am, &c, W Collins Rees, for and in the absence of the Chief Harbour Master.” The Awards are as follows: - Crew of DAWN'S lifeboat-Chief Officer, Mr G. Peat, 15 pounds; boat's crew-G. Sterge, A.B., 5 pounds; T. Hammond, A.B., 5 pounds; J. Black, A.B., 5 pounds; H. Edwards, A.B., 5 pounds. Dinghy's Crew-Second Officer, Mr Christie, 10 pounds; boat's crew -F. Lafer, A.B., 5 pounds; W. Johnstone, A.B., 5 pounds; Mr Lear, provedore, 5 pounds; Mr Dove, purser, 5 pounds. Captain Jones receives a piece of plate. (from “Wreck of the ship Eric the Red” by Jack Loney) The medal’s history, according to the Editor of ‘E-Sylum’ (the newsletter of The Numismatic Bibliomania Society “… appears to be an example of an 1880 State Department medal, catalogued as LS-3 (page 322 of R. W. Julian's book, Medals of the United States Mint: The First Century 1792-1892). The reverse is mostly blank for engraving, surrounded by a thin wreath. It was designed by George Morgan, chief engraver for the Philadelphia Mint, and struck in gold, silver and bronze. The one pictured here (in The Standard newspaper, 2nd July 2013) appears to be silver.” The following is an account of the events which led to the awarding of this medal. The American ship Eric the Red was a wooden, three-masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric ‘the Red-haired’ Thorvaldsson, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first-class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) – about a quarter to a third of America’s total exhibits - for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Zaccheus Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were also 2 saloon passengers on board. The ship had been sailing for an uneventful 85 days and the voyage was almost at its end. As Eric the Red approached Cape Otway there was a moderate north-west wind and a hazy and overcast atmosphere. On 4th September 1880 at about 1:30 am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However, he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, southwest of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. The sea knocked the helmsman away from the wheel, broke the wheel ropes and carried away the rudder. The lifeboats were swamped, the mizzenmast fell, with all of its riggings, then the mainmast also fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually, the Captain made it to the deckhouse and the men pulled him up. At about 4:30 am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time, they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer SS Dawn was returning to Warrnambool from Melbourne, and its sailing time was different to its usual schedule. She was built in 1876 and bought by the Portland and Belfast Steam Navigation Co. in 1877. At the time of this journey, she was commanded by Captain Jones and was sailing between Melbourne and Portland via Warrnambool. The provedore the Dawn, Benjamin Lear, heard cries of distress coming through the portholes of the saloon. He gave the alarm and the engines were stopped. Cries could be heard clearly, coming from the land. Captain Jones sent out crew in two boats and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight, the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much-needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital for care and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Zaccheus Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia passed away in the Warrnambool district; an obituary was displayed in the local paper. Neither the ship nor its cargo was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steamship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay, the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally, those on board the Pharos had the name of the wrecked vessel. During this operation, Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated onto Point Franklin. Some of the vessels' yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of f locating wreckage about 10 miles off land, southeast of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and flycatchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with a chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and this medal awarded for the rescue of the crew. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and teapots, half a dozen silver serviette rings and two sewing machines. A Mr G.W. Black has in his possession a medal and a purse that was awarded to his father, another Dawn crew member who was part of the rescue team. The medal is similarly inscribed and named “To John Black ….” (from “Shipwrecks” by Margaret E. Mackenzie, 3rd edition, published 1964). The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high-quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and shed around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7-foot-long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at shipbuilding in Apollo Bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. Nelson Johnson married Elizabeth Howard in 1881 and they had 10 children, the father of the medal’s donor being the youngest. They lived in 13 Tichbourne Place, South Melbourne, Victoria. Nelson died in 1922 in Fitzroy Victoria, age 66. In 1895 the owners of the S.S. Dawn, the Portland and Belfast Steam Navigation Co., wound up and sold out to the Belfast Company who took over the Dawn for one year before selling her to Howard Smith. She was condemned and sunk in Suva in 1928. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". The medal for bravery is associated with the ship the “The Eric the Red which is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) This medal was awarded to Nelson Johnson by the U.S. President for bravery in the rescue of the Eric the Red crew. The obverse of the round, solid silver medal has an inscription around the rim. In the centre of the medal is the head of Liberty to the left, hair in a bun, with a sprig of leaves in the top left of a band around her head. There is a 6-pointed star below the portrait, between the start and end of the inscription. There are two raised areas on the rim, horizontally opposite each other, from the edge to just below the lettering and coinciding with the holes drilled in the edge. Slightly right of the top is a round indentation in the rim. The reverse has a wreath of leaves as a border, joined at the bottom by a ribbon bow. In the centre of the medal is an inscription, decorated with 3-pronged design and dots. The edge is plain with 2 small, rough and uneven holes horizontally opposite to each other, as though they had been used for mounting the medal at some stage. The medal has a matte finish on both sides and is slightly pitted and scratched.“PRESENTED BY THE PRESIDENT OF THE UNITED STATES” around the perimeter of the obverse of the medal. “TO / Nelson Johnson, / seaman of the British, / str “Dawn”, for bravery, / at risk of life, / in / rescuing the crew of / the American Ship / “Eric the Red.” “M” on obverse, truncation of the portraitwarrnambool, flagstaff hill, flagstaff hill maritime village, maritime museum, shipwreck coast, great ocean road, shipwreck artefact, eric the red, zaccheus allen, sewall, 1880, melbourne exhibition, cape otway, otway reef, victorian shipwreck, medal, nelson johnson, neils frederick yohnson, s.s. dawn, george morgan, hero

This certificate has been designed and drawn by James McKain Meek, one of several produced by him to sell to local families in Warrnambool and district as a means of raising money to support his family. James Meek (1815-1899) was a fish canner, fisherman, fishmonger, storekeeper, café proprietor, explorer, gold digger, accountant, writer, librarian and above all an outstanding calligrapher. After being a pioneer settler in the Ballarat area and residing also in Port Melbourne he came to Warrnambool and lived in the area in the 1850s and 60s. He explored much of the Terang area and the Otway Ranges, speaking and writing of the great potential of the latter area. One of Meek’s calligraphy works won an award in the International Exhibition of Melbourne in 1861 and some of his works are in various art galleries and museums today. Thomas Fidler was a Warrnambool butcher who married Fanny Cockman in 1849 in London.This certificate is of great significance as one of the calligraphy works of James Meek, a 19th century resident of Warrnambool, celebrated today as a talented calligrapher. The certificate was displayed in 2015 in a James Meek exhibition at Ballarat Art Gallery. The item is also of social significance showing how the more affluent 19th century families recorded and preserved their family history. This is a certificate hand drawn by James Meek. It is a template that enables the owner to insert the details of a family tree, in this case the 19th century family of Thomas Fidler and Fanny Cockman. The certificate is in grey and black shadings with highly ornamental scrolls and patterns. The document has been produced in black ink. It has a central column with spaces for names and side tablets to include more information. The side tablets are star-shaped and the central column has attachments of various shapes – circles, rectangles etc. The base of the column has further ornamental scrolls, swirls and lacework and features sketches of three emus on one side and three kangaroos on the other side. The certificate is mounted on white cardboard. Some of the Fidler family names have been produced in printed letters and some names have been added later by a family member. ‘Th. os Fidler’s Family Register 1865’ ‘The Family Keepsake’ ‘A Present For Home’thomas fidler and fanny cockman, james meek, history of warrnambool

This is a typewritten account of the history of Port Fairy from 1810 to 1890. It was written by William Earle (1850 -1902). In an addenda at the back of this folder there is a note from William Earle which indicates that the booklet was written in 1896 ‘as a result of a prize offered by several residents in a Schedule issued in connection with a local Industrial Exhibition, which Prize it secured’. Does this refer to the 1896-7 Warrnambool Industrial and Art Exhibition? No evidence of this has yet been found. As this folder was given to the ShipLovers Society of Victoria Library in 1963, some ten years before Earle’s history was reprinted in 1973, it is an early copy of Earle’s original work and may have been produced in the late 19th century or early 20th century. The original material was first published by the Port Fairy Gazette in 1896.This folder is of great interest as it is an early copy of Earle’s History of Port Fairy, an important historical publication. This is a black cardboard folder containing 120 typewritten foolscap pages about the history of Port Fairy 1810-1890 (written by William Earle). Inside the front cover there is a stamp of the ShipLovers Society of Victoria Library. The front cover has a sheet of white paper stuck on with adhesive tape. It has a black and white sketch of an anchor, a sailing ship and a rope. The pages are attached to the folder with four metal studs. There is a loose sheet inside with a note about the donor of the folder and a name handwritten on the front cover. ‘W.Earle’ ‘Presented by Mr Owen, Warrnambool, May/1963’ history of port fairy, william earle, shiplovers society of victoria

This medallion was awarded by the Commissioners of the Warrnambool Industrial & Art Exhibition to ten boys from the Kew Asylum who sent handmade items (basketware, matwork etc ) for display at the Education Court of the Exhibition. The Warrnambool Industrial & Art Exhibition, held in Warrnambool from December 1896 to March 1897, partly to commemorate Queen Victoria's Diamond Jubilee, was a signal event in Warrnambool's history, with one report suggesting that over 70,000 people attended the various activities held over these months. These included concerts, operas, displays, business stands, sporting events and competitions. The earliest surviving voice recordings made in Australia were produced in Warrnambool at this Exhibition and there were various other 'firsts'. The medallion awarded to the boys at the Asylum for the high quality of their work, was made by the Melboune firm of Stokes and Sons who had a stall and machinery at the Exhibition and made small souvenir Exhibition coins on the spot for visitors to buy. As well as the gold medallion the boys were also given by the Commissioners some small souvenirs to the total value of 12 shillings. This medallion is of great historical value as it is a precious and rare memento of the 1896-7 Warrnambool Industrial & Art Exhibition, an important event in Warrnambool's history..1 A round gilt-bronze medallion with a bust image of Queen Victoria and lettering on one side and a laurel wreath and lettering on the other side .2 A square black box with a metal hinge and clasp. The inside is lined with dark blue satin and silk and has a sunken area to hold a medallion. The maker's name is printed in gold lettering on the inside top of the lid.Warrnambool Industrial & Art Exhibition 1896-7 Diamond Jubilee Awarded to Idiot Asylum Kew For excellence of Workmanship Basket & Matwork & Photos of Asylum Stokes & Sons Medallists Melbournewarrnambool industrial & art exhibition, kew asylum medallion, medallion, 19th c exhibition warrnambool, warrnambool, warrnambool history

This boot belonged to Thomas Rome and may have been either an apprentice’s model or a display item in his boot and shoe shop or both. Thomas James Rome (1873-1974) worked in John Younger’s store in Beechworth before both came to Warrnambool in 1888. Rome worked in Younger’s store in Liebig Street, Warrnambool for 17 years and then established his own boot and shoe store at 115 Liebig Street in 1907, retiring in 1962. He married Amelia Saltau and they lived at Murweh at the corner of Liebig and Princess Streets, Warrnambool. Thomas Rome is mostly remembered today for his purchase and use of an Edison phonograph machine in the late 1890s and the sound recordings he made with this machine at the Warrnambool Industrial and Art Exhibition of 1896-7. These recordings were found intact after Rome’s death and are regarded as the earliest sound recordings still surviving in Australia today. This sample boot is of great significant as an example of the bootmaker’s art in the early 20th century and as a memento of Thomas Rome, important in Warrnambool’s history as a businessman and in the history of sound recording in Australia. This is a small sample black leather boot (probably a lady’s boot). It has double ridged stitching across the instep with a soft leather upper part and stitching separating the soft leather section from the smooth leather. The right side of the boot has seven button holes and seven buttons attached with metal clips. The sole is leather with a small heel and the name of the owner stamped on the sole. ‘10’ ‘T.J.Rome’ thomas rome, history of warrnambool, antique lady's boot, leather boot vintage