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

Chip carving was a popular hobby/pastime from the arts and crafts movement of the 1890s and remained a popular folk art until the 1920s.This is an example of a popular folk art hand-carved chair made in Australia in the early twentieth century.Hand-carved timber chair, by an unknown enthusiast in the Warrnambool area. Made using the 'chip carving' technique, with whorls and star design in relief on the seat. The timber finish has been given an ebonised tone. Chip carvingschair, craft, hobbies

A large volume of 216 pages top edges gilt with decorative tooled cover in full vellum.non-fictionThis rare example of a special limited edition of The Studio 1901 dealing with contemporary graphic artists in Britain, Europe and America, including the work of Phil May who was a Bulletin artist in Sydney for two years.the studio, journals, london, art, illustration

This floral arrangement was made with fish scales, a popular medium for art works in the late 1800s. This particular piece was made as a 'patriotic floral tribute' around 1900, by Mrs George Saker, nee Mary Dalzell. Glass dome on a wooden base enclosing a floral display made entirely of dyed fish scales.fish scale, fish scale art

This "art deco" style of containers were very popular by the "art and trendy" socialites, be they in the city or in rural towns and properties. This style was very popular in the 1940's to 1950's. The octagonal shape provided the stability of the decanter with its "expensive" contents. Because of its style it blended in well with any lavish meal and socio economic "upper" class environment. It was a part of social atmosphere of elegance and wealth be it in the city or on a rural property. This is very significant to the Kiewa Valley rural "society" environment. At the time of its use the wealth of Australia was "riding on the sheep's back", that is rural income(primary producers), on the whole, was well above that in the cities (industrial). It was in a period where large wealthy property owners could spend lavishly on trendy domestic items.This octagonal glass decanter with its egg shaped stopper is made in an "art deco" style and reflects the 1950's style of bold design. The decanter "stopper" has been cut in a "diamond" cut to reflect the sunlight as does a diamond ring. The stopper is tapered down to permit easy placement and removal. The Stability of the decanter is increased by the broad base and octagonal (8) sides tapering going up the sides.decanter, glass, art deco glass ware, spirits container

Chambers Edinburgh Journal is a magazine series which began in 1832. The founder was William Chambers. He was later joined by his brother Robert. A new magazine series began in 1844. In 1854 the Journal moved to London & became Chamber's Journal of Popular Literature, Science, and Art. At the end of 1897 the named changed to Chamber's Journal. It ceased publication in 1956.Brown marbled cover with black leather spine, hardcover book. Marbled paper on front cover peeled & part missing. Top & bottom of spine worn/torn and detached. Title page & eight page index missing. No end paper/s. Amateurish pencil drawings inside front & back covers. Loose pages in centre of body with rough/worn edges. Poor condition. 348 pp.Childish pencil drawings inside front & back covers.kilmore mechanics institute library.

Thought to have been used in shoemaking classes held for repatriated soldiers at Ballarat School of Mines. At the Ballarat Technical Art School, during the early twentieth century, leather art was popular but had little industrial value and was usually a minor study. The Victorian Education Department set examinations in art leather work. Copies of many Technical School Examination Papers are kept within the University's historical collection.Black wooden box with metal latch and handle. Contains assortment of tools, some with timber handles, some metal. Two halves inside box. Lid is attatched by canvas nailed to bottom. leather, tools, box, world war one, ballarat school of mines, shoemaking, bootmaking, bootmaker, leatherwork, repatriation

Tulle-bi-telli or Assuit – a textile which marries cotton or linen with small strips of metal. The name translates roughly as "net with metal". It is heavy, and retains heat, but is favoured for its ability to drape. The embroidery is applied by hand. Thin strips of alloy are threaded onto a flat, wide needle with a flat, wide eye. Alloy is used because pure silver would blacken with age and would be impossible to clean, and gold would be too costly. Each strip is approximately 1/8" wide and 18" to 24" long. The strips are threaded into the mesh, criss-crossed, flattened with the fingernails, and cut. The fabric is then stamped down, and when the designs are finished, the fabric is passed through a roller to flatten the metal even more. References are made to its use with Egyptian linen in the Bible and there is a 3000 year old example with gold strips in a Berlin Museum. Assuit has been used in Hollywood productions such as the 1934 Cecil B DeMille film Cleopatra. It was draped on Hedy Lamaar in Samson and Delilah in 1949; and the geometric designs were popular with the Art Deco movement, beginning around 1925Metal thread embroidery using silver coloured alloy metal plate on cotton/linen net. Creating geometric patterns and motifs. Velvet ribbon on neckline and hemline and shoulder seams.clothing, art deco, egypt

Tulle-bi-telli or Assuit shawl – a textile which marries cotton or linen with small strips of metal. The name translates roughly as "net with metal". It is heavy, and retains heat, but is favoured for its ability to drape. The embroidery is applied by hand. Thin strips of alloy are threaded onto a flat, wide needle with a flat, wide eye. Alloy is used because pure silver would blacken with age and would be impossible to clean, and gold would be too costly. Each strip is approximately 1/8" wide and 18" to 24" long. The strips are threaded into the mesh, criss-crossed, flattened with the fingernails, and cut. The fabric is then stamped down, and when the designs are finished, the fabric is passed through a roller to flatten the metal even more. References are made to its use with Egyptian linen in the Bible and there is a 3000 year old example with gold strips in a Berlin Museum. Assuit has been used in Hollywood productions such as the 1934 Cecil B DeMille film Cleopatra. It was draped on Hedy Lamaar in Samson and Delilah in 1949; and the geometric designs were popular with the Art Deco movement, beginning around 1925Metal thread embroidery using silver coloured alloy metal plate on cream coloured cotton/linen net. Creating geometric patterns and motifs of ladies, camels, birds and tree of Life.

The Sanctuary of the Blessed Virgin of the Coast is located in the picturesque municipality of San Giovanni Bianco, is a fascinating example of a subsidiary church immersed in the greenery of the mountains. Its privileged location, at an altitude offering breathtaking views, has made this place an important point of reference for the local community since its founding. The church, characterized by a simple yet elegant architectural style, features a façade that exudes serenity and welcome, inviting visitors to discover its history and significance. The feast of the Blessed Virgin of the Coast is celebrated every year on 15 August, becoming a moment of joy and sharing for the community. True Image of the Blessed Virgin venerated in the Church of the Costa of St. Gall One black and white holy card shows an artwork of the Blessed Virgin, St. Joseph, and the Magi and is venerated in the Church of the Costa of S. Gallo. The history of the sanctuary has its roots in an extraordinary event that occurred on 04 April 1492. A sacred image depicting the Virgin Mary, kept in the home of Caterina Lupis, was the scene of a miracle: tears of blood flowed from the painting. This event, interpreted as a divine sign, stirred great emotion and devotion in the local community. After a series of miraculous events, the Madonna herself expressed the desire to build a sanctuary in her honor, in a specific place: the coast overlooking the town and the hamlets of San Giovanni. Construction of the sanctuary began in 1492, marking the beginning of a story of faith and devotion that continues to this day. S. Antonio Abate, or St Anthony the Abbot Anthony the Abbot, Saint Anthony the Great, Saint Anthony of Egypt, Saint Anthony of the Fire, Saint Anthony of the Desert and Saint Anthony the Anchorite , ( Qumans , 12 January 251 – Thebaid Desert , 17 January 356 ) was an Egyptian abbot and hermit. A contemporary of Paul of Thebes, he is considered the founder of Christian monasticism and the first of the abbots; he is responsible for the permanent establishment of families of monks who, under the guidance of a spiritual father, abba, consecrated themselves to the service of God. His life has been handed down by his disciple Athanasius of Alexandria. He is one of the four Fathers of the Eastern Church who bear the title of "Great" together with Athanasius himself, Basil and Photius of Constantinople. He is remembered in the Calendar of Saints of the Catholic Church and the Lutheran Church on January 17, but the Coptic Orthodox Church celebrates him on January 31, which corresponds, in its calendar, to the 22nd of the month of Tobit . St Catherine of Alexandra was a martyr. T he emperor angrily ordered her to be executed on a breaking wheel. The breaking wheel is an ancient form of torture where a person's limbs are threaded among the spokes and their bones are shattered by an executioner with a heavy rod. It is a brutal punishment that results in a slow and painful death, normally reserved for the worst criminals. When Catherine was presented before the wheel, she touched it and a miracle occurred that caused the wheel to shatter. Unable to torture her to death, the emperor simply ordered her beheaded. Around the year 800, a legend spread that her body has been found with her hair still growing and a constant stream of oil coming from her body. Nothing exists to this day of her remains, and her very existence has been called into question. Despite these questions, and the possibility that her story may be confused with that of one or more other saints, she is still venerated in the Eastern Orthodox Church as a Martyr. Many Roman Catholics also venerate her to this day as one of the great virgin saints of the early Church. During the medieval period, St. Catherine was one of the most famous saints of the Church. She has was a popular subject in renaissance art and many paintings from the period are dedicated to her. St. Henry, son of Henry, Duke of Bavaria, and of Gisella, daughter of Conrad, King of Burgundy, was born in 972. He received an excellent education under the care of St. Wolfgang, Bishop of Ratisbon. In 995, St. Henry succeeded his father as Duke of Bavaria, and in 1002, upon the death of his cousin, Otho III, he was elected emperor. Firmly anchored upon the great eternal truths, which the practice of meditation kept alive in his heart, he was not elated by this dignity and sought in all things, the greater glory of God. He was most watchful over the welfare of the Church and exerted his zeal for the maintenance of ecclesiastical discipline through the instrumentality of the Bishops. He gained several victories over his enemies, both at home and abroad, but he used these with great moderation and clemency. In 1014, he went to Rome and received the imperial crown at the hands of Pope Benedict VIII. On that occasion he confirmed the donation, made by his predecessors to the Pope, of the sovereignty of Rome and the exarchate of Ravenna. Circumstances several times drove the holy Emperor into war, from which he always came forth victorious. He led an army to the south of Italy against the Saracens and their allies, the Greeks, and drove them from the country. The humility and spirit of justice of the Saint were equal to his zeal for religion. He cast himself at the feet of Herebert, Bishop of Cologne, and begged his pardon for having treated him with coldness, on account of a misunderstanding. He wished to abdicate and retire into a monastery, but yielded to the advice of the Abbot of Verdun, and retained his dignity. Both he and his wife, St. Cunegundes, lived in perpetual chastity, to which they had bound themselves by vow. The Saint made numerous pious foundations, gave liberally to pious institutions and built the Cathedral of Bamberg. His holy death occurred at the castle of Grone, near Halberstad, in 1024. His feast day is July 13th. He is the patron saint of the childless, of Dukes, of the handicapped and those rejected by Religious Order. What we know of St. Elizabeth comes from the Gospel, the book of Luke, in particular. In Luke, Elizabeth, a daughter of the line of Aaron, and the wife of Zechariah, was "righteous before God" and was "blameless" but childless. Elizabeth is also a cousin to the Virgin Mary.What we know of St. Elizabeth comes from the Gospel, the book of Luke, in particular. In Luke, Elizabeth, a daughter of the line of Aaron, and the wife of Zechariah, was "righteous before God" and was "blameless" but childless. Elizabeth is also a cousin to the Virgin Mary. Five holy cards from San Gallo, Lombardy, Italy, carried by Luigi Gervasoni in a small prayer book that he carried to Australia. Two of the Holy Cards are hand coloured, and one mentions the Church were he was baptised, The Chiesa della Costa di S. Gallo. caterina lupis, san gallo, luigi gervasoni, italy, saint elizabeth, san giovanni bianco, chiesa di costa san giovanni bianco, holy family, saint anthony the abbot, st catherine

In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

This painting of the “La Bella” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “La Bella”. It was painted around the 1980s by maritime artist Philip J. Gray. Some 15 – 17 ships are believed to have sunk in Lady Bay, but only two have been discovered on the seafloor; the “La Bella” and the “Edinburgh Castle”. Both wrecks are popular diving sites and are preserved as significant historical marine and marine archaeological sites. The Kosnar Picture Framing and Mirrors Shop identified the "GRAY 3135, Y04/111" as their job number for the framing and said that the label "ANOTHER KOSNAR FEATURE" was last used before about 1990. About artist Philip J. 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.” [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. 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. About the “La Bella” The wreck of the La Bella lies at the bottom of the Warrnambool Harbour in Lady Bay. Some 15 ships are believed to have been wrecked there but only two have been discovered on the sea floor; the La Bella and the Edinburgh Castle. Both wrecks are popular diving sites and are preserved as significant historical marine and marine archaeological sites. The story of the final voyage of the La Bella is summarised as follows … The ship from which the sailors were rescued was the three-masted, iron and steel barquentine the La Bella, built in Norway in 1893. She was one of two iron and steel ships by Johan Smith, the company being one of the leading shipping families in Tvedestrand, Norway. She was significant to Norwegian shipping, being one of only 27 iron and steel ships ever built in Norway. La Bella was registered in New Zealand and engaged from 1902 in inter-colonial trading of timber in the pacific, between New Zealand and Australia and was often in Port Phillip Bay, Victoria. On 5th October 1905 the twelve year old La Bella left Lyttleton, New Zealand carrying a cargo of timber bound for Warrnambool, Australia . She was manned by a crew of twelve: the Master, (Captain Mylius, previously 1st Mate of La Bella, appointed Captain to La Bella on 6th February 1903) 2 Mates, Cook, six able seamen, one ordinary seaman and a boy. Bad weather en-route caused her to shelter at Burnie on Tasmania's North West coast. On November 10th, the 37th day of her journey, La Bella approached Warrnambool. Captain Mylius steered her towards Lady Bay Channel in heavy south-west seas and evening mist. He ordered the helmsman to steer for the light. As the ship came round, a tremendous sea struck her on the port quarter, causing her to breach broadside in a north-westerly direction into breakers. The helm was brought round twice more, but each time heavy seas broke over her, the third time throwing the La Bella on to a submerged reef in Lady Bay now known as La Bella Reef (about 100 yards from the Warrnambool breakwater). The sea was so rough that it even wrenched a one-and-a-half ton anchor from its fastenings and into the sea. As Captain Mylius headed to the steel wheelhouse, intending to send up a rocket flare, a huge sea slammed the steel door into him (resulting in massive bruising front and back) Despite his injuries he still managed to set off a blue light, which he held up in his hands. La Bella’s lifeboats were filled with sea water and broke up on their chocks. The blue light was the first indication to people on shore that there was a ship in distress. The Harbour Master, Captain Roe (who lived in the Harbour Master’s House opposite Flagstaff Hill), organised a group of volunteers to crew the lifeboat because the trained crew was unavailable; the crewmen were working on a steamer in Port Fairy at the time. He then poured oil onto the water to try and smooth the sea. At around 11pm three of the crew took shelter in the steel forecastle but the sea crashed into it and broke it up. While the rest of the crew and onlookers watched helplessly in the moonlight the bodies were washed away into the sea, never to be seen again. Some of the crew lashed themselves to the weather rail to keep from being washed away. Watson, the ordinary seaman, became tangled in the rigging lines and was too weak to move, so the 2nd Mate, Robertson, put a line onto him so that he wouldn’t wash off. Around 11pm three of the crew were unconscious from exhaustion. The situation on La Bella was becoming dangerous. The 2nd Mate moved to the ‘house’ and soon afterwards the ship slipped in the heavy sea. The lashings of the 1st Mate and the ‘boy’ Denham had kept them safe until about 2am when they were washed overboard; no one was able to help. One by one, the exhausted crew were being washed overboard, too weak to hold on any longer. During the night the La Bella had broken into two and the deckhouse ran out towards the sea. Two more men drowned when trying to reach the lifeboat. By sunrise the only survivors of the twelve were the Master, 2nd Mate and three seamen. Early in the morning Captain Roe used the rocket apparatus on shore to try and shoot a line to the ship for a safer rescue but each attempt fell short of the target. Several attempts were made by the lifeboat to rescue the stricken sailors, but the rough conditions made this difficult for the boat to get close enough to the ship and the lifeboat had to return to shore. During a final attempt to reach the ship Captain Mylius ordered his men to jump into the sea. Leonard Robertson, 2nd mate, jumped and swam towards the lifeboat, taking hold of the boat hook offered to him. Oscar Rosenholme managed to reach the boat floating on a piece of timber from the ship’s load and a third survivor, Noake, also made the boat. Along with the lifeboat rescue crew, 25 year old William Ferrier rowed his small dingy through the heavy seas and managed to rescue the Captain, whom he landed on the breakwater. Ferrier then returned to the ship to attempt a final rescue, losing his oars and rowlocks into the high sea. Using just a spare paddle he skulled towards the La Bella, reaching her stern in time to cut loose the lone surviving sailor, Payne, from the lashing that held him to the ship; the terrified sailor dropped from the ship and into the dingy. Shortly after the last man was rescued, the La Bella was lifted by a huge wave and crashed back down on the reef; she broke up and sank. The ordeal had lasted ten hours. The survivors were taken to the nearby Bay View Hotel and gratefully received warm food and clothing, medical attention and a place to sleep. In the following days an unidentified body of a young person was washed ashore; it was either Watson or Denham. The body was buried in the Warrnambool cemetery with an appropriate gravestone and inscription. William Ferrier became a national hero as news of the daring rescue spread. In recognition of his bravery in the two daring rescues he was awarded the Silver Medal for Bravery by the Royal Humane Society and was honoured in the letter from the Prime Minister and the Parliament of the Commonwealth, telegrams and a cheque for £20 from the Governor General, over £150 subscribed by the public, including Warrnambool and district and readers of The Argus, and a gold medal from the Glenelg Dinghy Club of South Australia. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. (William Ferrier’s son, Frank, received a similar award almost fifty years later, when he helped rescue four members of the crew on the yacht Merlan, after it ran on to a reef near the Point Lonsdale Lighthouse. ) The wreck of La Bella now lies on her port side in 13 metres of sheltered water inside the reef she struck. The bow section is relatively intact and part of the stern has drifted north-easterly towards the mouth of the Hopkins River. The reef the La Bella struck now bears its name. Those five rescued from the La Bella were Captain George Mylius, Leonard Robertson (2nd Mate, 21 years old), R. Payne, Oscar Rosenholme and Jack Noake. Those seven who lost their lives were Mr Coulson (1st mate), Charles Jackman (cook) Gustave Johnson, Pierre Johann and Robert Gent (all able seamen), Harry Watson (ordinary seaman) and Jack Denham (ship’s boy). Captain Mylius was found guilty of careless navigation; he had sailed into the bay without the services of a pilot. His Master Certificate was suspended for twelve months. Later he was also charged with manslaughter of one of the crew who had died when the La Bella was wrecked, but found not guilty. The event’s adverse publicity and damage to his career took a toll on his health and he died of a heart attack six months after the wreck; he was only thirty-seven. His body was buried in the Melbourne General Cemetery. The La Bella was “the best documented of all sailing ships owned in New Zealand”. Her record books, ship logs, correspondence and supporting papers are still available. At the time of the tragedy she was owned by Messers David C.Turnbull and Co. of Timaru, New Zealand timber merchants and shipping agents, who had purchased her on 13th December 1901. A detailed account of the last journey of La Bella can be read in “Leonard Robertson, the Whangaroa & La Bella” written by Jack Churchouse, published in 1982 by Millwood Press Ltd, Wellington, NZ.This painting of the La Bella by Philip J. Gray is part of the La Bella Collection and is significant at both a local and state level. Its connection to the La Bella shipwreck and the rescue of five survivors highlights the dangers of Victoria’s Shipwreck Coast. The painting connects with other objects and artefacts associated with the wreck of the La Bella. This painting is significant because of its association with the sailing ship “La Bella” . the “La Bella” is of local and state and national significance. It is one of the only two shipwrecks discovered in Lady Bay, Warrnambool, out of the 15-17 shipwrecks in the bay. Large framed painting of the three masted barquentine "La Bella" fully rigged. Painted by Phillip J Gray. A fine printed line squares off the painting. Beneath painting and line is a gold plate with black copper plate designating "La Bella" is encased in glass, surrounded by a silver-metal frame. Yellow and brown paper label is adhered to back of painting. Picture framed by Kosnar in Melbourne."The La Bella" on gold plaque Logo of "K" inside a brown square. "GRAY 3135, Y04/111", "ANOTHER KOSNAR FEATURE" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, la bella, artist phillip j gray, maritime painting, lady bay warrnambool

A pictorial journey through Bruno's sculpture garden in Marysville with an additional section of photographs taken post-2009 Black Saturday bushfires.A pictorial journey through Bruno's sculpture garden in Marysville with an additional section of photographs taken post-2009 Black Saturday bushfires. Bruno's Sculpture Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville. This book is a new edition of a book that has been published as a symbol of the re-birth of both Marysville and Bruno's Sculpture Garden. Hardback. Front cover has a photograph of a sculpture of a large hand with a waterfall flowing from it. There is also a sculpture of a girl kneeling by the waterfall capturing water in her hands. The back cover has a photograph of a sculpture of two figures holding hands, one of whom is carrying a water jug.To this wonderful planet Earth/ Our experiences and stories are the colours of our life Acknowledgement/ I would like to express my gratitude to Iris and Andrew for their great work and enthusiasm toward this project/ and to all the people who have inspired me, especially my wife Marleen. Also many thanks to Jerome and Linda/ for all their generous support and to Ron Patterson for making it possible./ Bruno Torfsbruno torfs, bruno's art and sculpture garden, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, 2009 black saturday bushfires

An advertising brochure for Bruno's Art and Sculptures Garden in Marysville in Victoria.An advertising brochure for Bruno's Art and Sculpture Gardens in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, advertising brochure, bruno's art & sculptures garden, 2009 black saturday bushfires

An advertising brochure for Bruno's Art and Sculptures Garden in Marysville in Victoria.An advertising brochure for Bruno's Art and Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, advertising brochure, bruno's art and sculptures garden, 2009 black saturday bushfires

An advertising brochure for Bruno's Art and Sculptures Garden in Marysville in Victoria.An advertising brochure for Bruno's Art and Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, advertising brochure, bruno's art and sculptures garden, 2009 black saturday bushfires

A colour photograph of Bruno's Art and Sculptures Garden in Marysville in Victoria. A colour photograph of Bruno's Art and Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A digital copy of a colour photograph of Bruno's Art and Sculpture Gardens in Marysville in Victoria.A digital copy of a colour photograph of Bruno's Art and Sculpture Gardens in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph taken of a sign at then entrance to Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph taken of a sign at then entrance to Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.Welcome to Bruno's Art & Sculpture Garden Hidden amongst the trees of the small Victorian village of/ Marysville is a world full of fantasy, beauty and humour./ Surrounded by the magical rainforest setting. Bruno Torfs has created one of the world's most unique and/ deeply inspiring experiences for art and garden lovers of all ages. With over three hundred paintings and sculptures to discover, a/ journey to Bruno's is one of Australia's most special attractions. Take a Tourbruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a wooden carved statue in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a wooden carved statue in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph