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Tarnagulla History Archive
Newspaper article - A Promise Of A Golden Rebirth Rekindles Fire And Hope In The Aging Heartbeat Of The Old Tarnagulla, A Promise Of A Golden Rebirth Rekindles Fire And Hope In The Aging Heartbeat Of The Old Tarnagulla, June 4,1988
Don Clark Collection. An article (across two clippings) from the Bendigo Advertiser newspaper of June 4,1988 titled 'A Promise Of A Golden Rebirth Rekindles Fire And Hope In The Aging Heartbeat Of The Old Tarnagulla'. Discusses Western Mining returning to mine Poverty Reef and hopes it will revitalise the town of Tarnagulla. Images of Les Williams, John Lavery, Chris Williams, Don Shipston and Bill Goltz. tarnagulla, mining, western mining, revitalization, people, golden age hotel, lochcarron -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Max Sherlock, Rebirth at Aireys, c. 1984
aireys inlet, aireys, rebirth, bush fire, vegetation, tree, max sherlock -
Clunes Museum
Film - VIDEO, AUSTRALIAN BROADCASTING CORPORATION (ABC)
VIDEO OF CLUNES MADE BY THE AUSTRALIAN BROADCASTING CORPORATION IN 1965 - FEATURING LOCAL CITIZENS THEO HARDEN, ROBERT DOLAN & GOTTFRIED KELLER..1 VIDEO - TITLED "REBIRTH OF A GOLD TOWN" IN PLASTIC COVER .2 PHOTOCOPY OF LETTER TO THE EDITOR, WRITTEN BY W.C. FOULKES IN RESPONSE TO INTERVIEW TECHNIQUES USED IN THE VIDEO "REBIRTH OF A GOLD TOWN" .3 PHOTOCOPY OF AN ARTICLE IN THE CLUNES-TALBOT GUARDIAN DATED FRIDAY, JUNE 11, 1965ABC ARCHIVES - REBIRTH OF A GOLD TOWN TX: 1965local history, performing arts, television, video -
Marysville & District Historical Society
Magazine (Item) - Magazine article, Tammy Lovett, Dalrymples, 2016
A magazine article regarding Dalrymples rebuild and rebirth after being destroyed in the 2009 Black Saturday bushfires.A magazine article regarding Dalrymples rebuild and rebirth after being destroyed in the 2009 Black Saturday bushfires.marysville, victoria, australia, dalrymples guest cottages, magazine article, murrindindi guide, 2009 black saturday bushfires -
Carlton Football Club
Cassette tape, Rebirth of the Blues, 1991. How Blue are you?, 1990
"We need your support to recapture the spirit of the good old days. Carlton Football Club Membership songs" Side A "How Blue Are You" Written and performed by Oscar Swarv. Guitar: Rob Manley Flute: Neil Jamieson Side B "Blue is our colour" - a singalong tune by members of your team. New Lyrics by Oscar Swarv. From Roger Skien Collection.Audio cassette -
University of Melbourne, Burnley Campus Archives
Newspaper - Newspaper Cutting, The Age, Gentle Rebirth, 2015
Article in "The Age" 18 July, 2015 by Megan Backhouse. Article about Boroondara General Cemetary in Kew. Interview with Helen Page (1961) on her involvement with the Cemetery Trust and the restoration of the cemetery landscape.the age, megan backhouse, boroondara general cemetery, kew, landscape, helen page, boroondara cemetery trust -
National Vietnam Veterans Museum (NVVM)
Memorabilia, Buddha
Statue of Lotus Buddha. Made of heavy black material. (Ebony?) Long eared Buddha in Lotus position with flower in hand sitting on rasied Dias. Lotus means Purity and Enlightenment and Rebirth.buddha -
Marysville & District Historical Society
Book, Bill Bate, Marysville Ten Years On, 2019
A book of photographs taken to commemorate the ten year anniversary of the 2009 Black Saturday bush fire that destroyed most of Marysville.Front cover has a photograph of a statue of a girl holding a bird that is on the verge of flying.non-fictionA book of photographs taken to commemorate the ten year anniversary of the 2009 Black Saturday bush fire that destroyed most of Marysville.marysville, ten year anniversary, black saturday, bushfire, celebration -
Marysville & District Historical Society
Book, Bill Bate, Marysville Ten Years On, 2019
A book of photographs taken to commemorate the ten year anniversary of the 2009 Black Saturday bush fire that destroyed most of Marysville.Front cover has a photograph of a statue of a girl holding a bird that is on the verge of flying.non-fictionA book of photographs taken to commemorate the ten year anniversary of the 2009 Black Saturday bush fire that destroyed most of Marysville.marysville, ten year anniversary, black saturday, bushfire, celebration -
Greensborough Historical Society
Article, Rosie Bray, Puffing Billy, by Rosie Bray, 18/10/2018
Short history of the Puffing Billy Railway, from the 1900 Upper Ferntree Gully - Gembrook railway line to its rebirth in 1955, operating between Belgrave and Menzies Creek, later extended to Gembrook. Written to commemorate the 20th anniversary and the official re-opening of the Lakeside to Gembrook line on October 18, 2018.4 p. typescript with col. photographspuffing billy railway -
Unions Ballarat
The Assault on Reason, Gore, Al, 2007/2008
From the publisher: "A visionary analysis of how the politics of fear, secrecy, cronyism, and blind faith has combined with the degradation of the public sphere to create an environment dangerously hostile to reason." The book strongly critique of the Bush administration. Contents: Introduction -- 1: Politics of fear -- 2: Blinding the faithful -- 3: Politics of wealth -- 4: Convenient untruths -- 5: Assault on the individual -- 6: National insecurity -- 7: Carbon crisis -- 8: Democracy in the balance -- 9: Well-connected citizenry -- Conclusion: Rebirth of democracyRelevance to politics in the United States, Iraq War, events around 9/11 and the George W. Bush government (2000-2008).Paper; book. Front cover: coloured image of the US flag (background); blue, white and red lettering.Front cover: author's name and book title.btlc, ballarat trades hall, ballarat trades and labour council, united states of america, bush, george, iraq war, 9/11, national security - usa, politics, government, democracy, citizenship -
NMIT (Northern Melbourne Institute of TAFE)
Booklet: Historic Aradale [NMIT Site Plan and Introduction 2003], HiBooklet: Historic Aradale [NMIT Site Plan and Introduction 2003]
Twenty-seven page colour booklet, with introduction and site plans for the Ararat Campus of NMIT, 2003. One large A3 copy and one smaller A4 copy. Also Program for Official opening of Aradale Campus Sunday 17 November 2002. Also large aerial photograph of Aradale campus 2003. Also VHS video Ararat Rural City Council celebrates rebirth of Aradale, Ballarat Win TV State television news 15/3/2002. Bill Braithwaite, Ararat Rural City Council, Peter Ray, NMIT.aradale, nmit ararat, aradale site plan, program for official opening 2002, nmit -
Warrnambool Art Gallery
Zulu necklace, 19th century
It is unknown how this specific item made its way into the Warrnambool Museum. However, many South African artefacts came to the museum through men who served in the army during the Boer Wars of 1880-81 and 1899-1902.A beaded rope necklace. The rope is made from cloth and plant fibre with glass beads. It has a brass fastening. There are five colours: white, green, black and red with a pink band at the top. In the Zulu culture beads and jewellery were used as a means of communication. Generally they were used to convey messages about whether someone was married, engaged or single. The colours had different meanings but when placed next to white, the meaning would always be positive. white: purity and love black: marriage and rebirth red: also love green: contentment pink: denoted high status Beadwork was almost solely the work of women but men would also wear the jewellery.zulu, south africa, jewellery, beads, kwa zulu natal, africa, boer war, warrnambool -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind 104th annual report 1969-1970, 1969-1970
Articles in annual report include: List of RVIB president, vice president, board of management, medical staff and officers of the institute, honorary officers and consultant medical staff, The president's report, Nursery and school, Employment - the means of independence, Training and rehabilitation centre the rebirth of confidence and skills, Multi handicapped children, Our senior blind citizens the aged are not forgotten, Finance, Our auxiliaries and other helpers, Welfare -an increasing need, Melbourne traditional carols by candlelight, Services and facilities, When you make or amend your will. Events that occurred in 1969 : Alexander Mair died, he was a member of the board of management since 1952, RVIB faced a deficit, to date they did not have to restrict the scope of any of the services available to blind people and it was hoped with increasing support from all sections of the community that they would not have to do so, after 31 continuous years radio station 3KZ decided to discontinue its association with the Melbourne traditional Christmas festival carols by candlelight but in doing so offered the RVIB the rights to continue. It was the first time RVIB hosted and they offered thanks to television channel 0 and radio station 3AW.1 volume of printed text with photographsroyal victorian institute for the blind, annual reports -
Bendigo Historical Society Inc.
Newspaper - LYDIA CHANCELLOR COLLECTION: A WHEEL TURNS FULL CIRCLE
A newspaper article titled 'A wheel turns full circle. Amy Huxtable looks at the recent rebirth of Bendigo's wine industry.' Wine making was one of the main industries in Bendigo in the 1800s. Mr. Jean T. Deravin of Chateau Dore Vineyard was a skilled vigneron. In 1893 phylloxera was found in some vineyards and all vineyards were needlessly pulled out. A new era in wine making was begun in the 1970s. Mr. Deravin's great grandson Ivan Grose now has grapes back at Chateau Dore. In February 1971 a new era in Bendigo wine making began with grapes grown in Bendigo by Mr. Ron Andrew of Maiden Gully were first released as wine by Chateau Tahbilk and Matchett's. There are two photos in this article - a selection of the Shiraz and Cabernet Sauvignon released on the 13/02/76 and a photo of Mr. Ron Andrews holding his first vintage. Note in the background behind Mr. Andrews are his historic stables which he restored. 13/02/1976.bendigo, industry, vineyards and wine making., lydia chancellor collection, collection, wine growing, vineyards, bendigo wine making, wine history, history, vintage wines, mr. jean deravin, mr. ron andrews, chateau dore, chateau tahbilk, industry, amy huxtable, grapes, buildings -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Australian Ex-Prisoner of War Memorial, Ballarat, 2014, 04/11/2014
The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war -
Ballarat Heritage Services
Photograph, Australian Ex-Prisoner of War Memorial, Ballarat, 04/11/2014
DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, peter blizzard, prisoner of war, ballarat north gardens -
Ballarat Heritage Services
Photograph, Australian Ex-Prisoner of War Memorial, Ballarat, 2014, 04/11/2014
DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, prisoner of war, ballarat north gardens, peter blizzard -
Victorian Aboriginal Corporation for Languages
Conference proceedings, Joan Argenter, Endangered languages and linguistic rights on the margins of nations : proceedings of the Eighth FEL Conference : Barcelona (Catalonia) Spain 1-3 October 2004, 2005
Section 1: Grass-roots Efforts and Top-down Institutions Keynote Address: Leanne Hinton The Death and Rebirth of Native American Languages Patrick Marlow Bilingual Education, Legislative Intent, and Language Maintenance in Alaska Galina Dyrkheeva New Language Policy and Small Languages in Russia: the Buryat Example Zelealem Leyew The Fate of Endangered Languages in Ethiopia Gregory Hankoni Kamwendo Language Planning from Below: Chitumbuka as a Marginalised Language in Malawi John Hobson Learning to Speak Again: Towards the Provision of Appropriate Training for the Revitalization of Australian Languages in New South Wales Shelley Tulloch Grassroots Desires for Language Planning in Nunavut Amandina C�rdenas Demay Hacia la definici�n de una pol�tica del lenguaje & Alejandra Arellano Mart�nez expl�cita en M�xico Elena Benedicto, G. McLean, Linguistic Rights in the Nicaraguan Atlantic Coast: Grupo de Ling�istas Ind�genas Mayangna Actions on the Ground within the Legislative Framework of the Estatuto de Autonom�a Bartomeu Meli� Las lenguas ind�genas en el Paraguay. Una visi�n desde el Censo 2002 Monica Ward Building from the Bottom-up: Linguistic Rights for Extremely Endangered Languages Marta Moskal Language Policy and Protection of Endangered Languages in Poland Sue Wright What is a language? Some difficulties inherent in language rights Joan Ramon Sol� Obstacles in the Way of the Recovery of Catalan Section 2: The Global vs. the Local in Linguistic Rights Keynote Address: Patxi Goenaga Fronteras que dividen y fronteras que separan. Una mirada a Europa desde el Euskara Yun-Hsuan Kuo Languages, Identity, and Linguistic Rights in Taiwan Estibaliz Amorrortu, Andoni Barre�a, What Do Linguistic Communities Think about the Esti Izagirre, Itziar Idiazabal, Bel�n Uranga Official Recognition of their Languages? Alok Kumar Das Linguistic Practices and Not Just Linguistic Rights: Endangered Languages in New Europe Section 3: Languages crossing the Borders Keynote Address: Tjeerd de Graaf The Status of Endangered Languages in the Border Areas of Japan and Russia Mariana Bara Arm�n endangered language Ver�nica Grondona Language Policy, Linguistic Rights and Language Maintenance in Argentina Grup d?Estudi de Lleng�es Amena�ades Linguistic diversity in Catalonia: towards a model of linguistic revitalization Nataliya Belitser Endangered Languages in Crimea/Ukraine: The Cases of Crimean Tatar, Karait, and Krymchak Ivelina Kazakova & Maria Miteva The Future of Bulgarian: The Road to Extinction or Paradise Regained Luke O?Callaghan War of Words: Language Policy in Post Independence Kazakhstan Eden Naby From Lingua Franca to Endangered Language: The Legal Aspects of the Preservation of Aramaic in Iraq Poster presentations Akim Elnazarov Endangered languages and Education. A Case of Badakhshan Province of Tajikistan Arnfinn Muruvik Vonen & Oddvar Hjulstad Linguistic Rights Paving the Way Towards Language Endangerment? The Case of Norwegian Sign Language Eva Savelsberg Kurdish (Kurmanc�) as Minority Language in the Federal Republic of Germany Jos� Antonio Flores Farf�n Cultural and Linguistic Revitalization, Maintenance and Development in Mexico Mary Jane Norris Assessing the Status, Use and Accessibility of Canada?s Aboriginal Languages within Communities and Cities: Some Proposed Indicators Michael Prosser van der Riet Promotion of Minority Language Scripts in Southwest China. A Relative Success or Complete Failure? Mikael Grut The Endangered Celtic Languages: A Wake-up Call Nariyo Kono Developing Partnerships Between Universities and Language Communities: Top-down and Bottom-up Integration Richard J. Hawkins Probit Modeling Language Attrition Rudy Osiel Camposeco El idioma maya Popti? y la Declaraci�n Universal de los Derechos Ling��sticos Victorio N. Sugbo The literary Response: Claiming Rights in Three Philippin Languages Ya-ling Chang Language Policies in an Aboriginal Primary School in Taiwanmaps, tables, graphsnsw, endangered languages, linguistic rights -
Flagstaff Hill Maritime Museum and Village
Decorative object - Peacock, Minton Majolica life-size model, Paul Comolera, artist, Designed: c. 1873; Made: c. 1875
This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire -
Cornish College
Calendar, Commission for Mission and the Communications and Media Services unit, UCA Commission for Mission Calendar 2012, October 2011
For the month of September, Cornish College was featured. The students were from the 2011 ELC3 group which shows them playing in the grass.The photo was taken by ELC Director Kirsten Liljegren.'Future graduates of Cornish College relish in the campus' rebirth' describes the photograph. As part of the Uniting Church, Cornish College was included in the 2012 calendar. A4 14 page calendar with sepia beach photo on cover. Uniting Church logo in top right hand corner. White writing in bottom section. Each month has a colour photograph, quote and dates.campaign_to_save_cornish, calendar, 2012, uniting church, -
Bass Coast Shire Council - Robert Smith Collection
Artwork, other - Workmen,Study for Rebirth of a City, Maitland 1955, William Dobell
Australia 1899 - 1970Ink and wash