Copy of file no. 38-422-322 from the National Archives of Australia being a despatch relating to the 12 Australian General Hospital 164 personnel and supplies departing on the Hospital Ship Wanganella to serve in Ceylon [Sri Lanka]. This number included 50 Australian Army Nursing Service nurses, 23 Officers, 3 Masseuses, 20 Voluntary Aid Detachment staff, and others.Foolscap copy of a multi-page Department of the Army Despatch report with information on the source along the left hand edge.'38-422-322' [Blue ink on left hand side]wwii, ww2, world war 2, 12 agh, ceylon, sri lanka

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage 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. 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 Morgan’s Patent graphite crucible No.8 (i.e. 8kgs capacity), one of a set. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. Number “8”. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [8] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "LA/89"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage 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. 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 ahipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.4 (i.e. 4kgs capacity), one of a set of three. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London.Number or. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [4] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "L89"flagstaff hill, warrnambool, 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, graphite crucible, plumbago crucible, morgan's crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

It is made up of andalusite. Andalusite is a rock-forming mineral, sometimes found in granite or schist. It is often used to make glass, ceramic products, chemicals, and heat-resistant bricks as it can withstand high temperatures without changing. The chiastolite contains particles of graphite, which arranges in geometric patterns. When crystal growth occurs in the rock, the granite particles concentrate at crystal interfaces and can result in cross shapes. These ‘cross stones’ have been valued and used for their spiritual or religious meaning and used as charms, gems, or amulets. Chiastolite was first discovered in 1754, seen in a description in a published book by a palaeontologist, Franciscan priest, and Spanish author, Jose Torrubia. Deposits have been found in Australia, France, the USA, Chile, Canada, Spain, Brazil, Sri Lanka, and Russia. Deposits have been found in Western Australia and South Australia. This particular specimen was found in Bimbowrie, South Australia. Other chiastolite specimens have been found in Bimbowrie, along with jasper, quartz, and aventurine in the form of rolled pebbles or schist. This chiastolite specimen is socially and historically significant. It is a very rare sort of andalusite mineral. It is from one of only two locations where it is regularly found in Australia. The carbon cross has made it an important religious symbol in the past. Its ability to withstand high temperatures has made it a common ingredient in heat-resistant bricks and ceramics today. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A metamorphic mineral consisting of andalusite, with a cross shaped graphite pattern in colours of grey, brown and yellowburke museum, beechworth, geological, geological specimen, andalusite, chiastolite, geometric, cross stone, spiritual, religious, australia, south australia, bimbowrie, quartz, jasper, aventurine, schist

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

Crucibles are used for heating and pouring molten metal. The set of six crucibles was raised from the wreck of the Loch Ard and includes a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage 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. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's 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.This crucible is the smallest of three nested crucibles, or fluxing pots, numbered according to their size. These containers rise slightly from a smaller flat base to a wider open top with a lip for pouring. They were recovered from the wreck of the Loch Ard. The crucibles have a coating of sediment that obscures some of their numerical specifications of size and capacity. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. The number on this crucible is obscured by the sticker.Stamped into side "MORGAN'S PATENT" Stemped into base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Sticker "L 96"flagstaff hill, warrnambool, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot, nested crucibles, heat proof container, metal worker, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, loch ard gorge, port campbell

This program was produced by the Snowy River Mail for a community singalong held in Orbost on Tuesday June 2 1953 to celebrate the coronation of Queen Elizabeth 11. In June 1953 , Elizabeth II was crowned Queen of the United Kingdom, Canada, Australia, New Zealand, South Africa, Ceylon (now Sri Lanka), and Pakistan, and became the Head of the Commonwealth. The coronation of Queen Elizabeth II as monarch took place on 2 June 1953. Elizabeth ascended the throne at the age of 25, upon the death of her father, King George VI, on 6 February 1952, and was proclaimed queen by her various privy and executive councils shortly afterwards. The coronation took place more than a year later because of the tradition that holding such a festival is inappropriate during the period of mourning that follows the death of a monarch. This community event was typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family. This item reflects the significance of monarchy for Australia and the constitutional history of Australia.The item reflects the interest in the royal family to Australians at this time as well as the general feeling of respect and admiration felt by the rural communities towards the British Royal Family.A white paper program with the words of songs printed in black. There is a rust mark from a metal staple in the top left corner. It is titled "Your Coronation Community Songs".queen-elizabeth-11 royalty community-event-orbost souvenir-program

During World War II, Wanganella was converted to serve as an Australian Hospital Ship (AHS). Between 19 May 1941 and 1946, AHS Wanganella carried wounded and sick evacuees from the Middle East, New Guinea, Solomon Islands, Borneo and the South Pacific, travelling over 251,011 nautical miles (464,872 km) and transporting 13,385 wounded. A.H.S Wanganella 2/2nd Australian Hospital ship. Ref: "Hospital Ships" Rupert Goodman SLV LT 359.8364 0994 G62H Trip 8 Depart 12th Nov 1942 Melbourne Fremantle Aden 10th - 11th Dec 1942 Port Tewfik, Egypt 21st - 22nd Dec 1942 Colombo, Sri Lanka 01 Jan 1943 Fremantle Adelaide Melbourne Sydney Arrived 13th Jan 1943 Brisbane Wanganella left Colombo 22nd December 1942 for Fremantle, with patients who boarded at Port Tewfik in Egypt arriving on New Year's day 1943. The menu is printed on fawn cardboard. The menu has been torn along the spine and rearranged at some time to put on display. There is evidence of glue or tape damage at the back of each corner of the card. Some grease and finger marks are evident on the front and back of the card. The printing is very legible. The heading 'Christmas Greetings' is at the top of the front page and 'Christmas Day 1942' at the bottom of the page. Originally the menu was assembled as a leaflet with the menu on the inside of the second sheet. Since this time, the menu has been torn along the middle fold and the second page sheet taped to the first page. There is a red cross on the front page with a printed illustration of the Wanganella superimposed over the top. H.M.A.H.S. Wanganella and the dinner menu are printed in dark blue ink. The Christmas greetings and the names of the commander and officer in command of the troops are printed in light blue ink. h.m.a.h.s. wanganella, w.w.ii hospital ship

In June 1953 , Elizabeth II was crowned Queen of the United Kingdom, Canada, Australia, New Zealand, South Africa, Ceylon (now Sri Lanka), and Pakistan, and became the Head of the Commonwealth. Her Majesty Queen Elizabeth the Second and His Royal Highness the Duke of Edinburgh visited Victoria from 24th February to 9th March, 1954. The Argus was a morning daily newspaper, established in 1846 and closing in 1957. On 28 July 1952, The Argus became the first newspaper in the world to publish colour photographs in a daily paper. A large contingent of 160 students in a convoy of six school buses left the Orbost post Office at 6.a.m. to "Join in Acclaiming Our Gracious Queen" in Sale. An estimated 35,000 Gippslanders welcomed the Her Majesty, the Queen and the Duke of Edinburgh. (info. from S.R.M. March 2, 10, 1954. A three guinea prize was offered for an essay on the royal visit. This item reflects the interest in the royal family to Australians at this time as well as the general feeling of respect and admiration felt by the rural communities towards the British Royal Family, especially towards Queen Elizabeth II.A hard covered book of 77 pp. The front cover is black with "E11R" in gold print. It is a pictorial story of Queen Elizabeth 11's visit to Victoria in 1954 - 24 February - 9 March.book-the-queen-in-victoria royalty

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal.The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A large crucible, or fluxing pot, for heating and pouring molten metal. It was recovered from the wreck of the LOCH ARD. The clay fired vessel rises from circular flat base to a larger rim with pouring lip. It is stained a rust colour and bears some sedimentary accretion. Half of its loose fitting lid with central knob has also survived. Markings on the artefact indicate it is a Morgan’s crucible, made with graphite to prevent cracking in the furnace and provide a smooth (non-adhesive) inner surface. On base: “…RGAN’S PATENT CRUCIBLE”. On rim: “MORGAN’S PATENT P…” Below top edge "BAK"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgans crucible company, loch ard, fluxing pot, crucible

This crucible was raised from the wreck of the Loch Ard. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mold to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. (For more information on the Loch Ard wreck see note sec this document) The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the crucible is a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.A medium size crucible, or fluxing pot, for heating and pouring molten metal. The container rises in a slight curve from a smaller flat base to a wider open top with a lip for pouring. It was recovered from the wreck of the LOCH ARD. The crucible has a coating of sediment that obscures its numerical specifications of size and capacity. The markings that remain visible indicate it is a Morgan’s crucible, made with graphite to prevent cracking and provide a smooth non-adhesive inner surface. .On base: “…ORGAN’S …ENT”flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

this item was made to commemorate the coronation of Queen Elizabeth !! in 1953. In June 1953 , Elizabeth II was crowned Queen of the United Kingdom, Canada, Australia, New Zealand, South Africa, Ceylon (now Sri Lanka), and Pakistan, and became the Head of the Commonwealth. Many souvenirs were made to mark this occasion. Some were unique and hand-made. The main sources for crochet and other needlework designs available to women were in journals, magazines and pattern books.This milk jug cover reflects an important pastime for Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping flies and insects away from food. It is also a tangible souvenir of the coronation of Queen Elizabeth 11.A rectangular jug cover hand crocheted in white thread. It has blue and red beads sewn into the edges. the design is "JUNE" above a crown with "E 11 R 1953" below the crown.

The bearer of this ticket was George Thomas Henry Phillpot, who was only 17 years old when he sailed on the S.S. Ballarat (II), built in 1921. (The first S.S. Ballarat was built in 1911 and sunk after being hit by a torpedo in 1917 while serving during WWI). George relates his trip from England to Australia, summarised as follows: He caught a bus from Bolton to Manchester, in the north west U.K., then the train from Manchester to London and the boat train to Tilbury Docks (near Gravesend). On the morning of June 7th 1929, the ship S.S. Ballarat sailed down the Thames estuary and into the English Channel. The next port of call was Southampton, UK, to take on board some technical equipment. The S.S. Ballarat then sailed through the Bay of Biscay. Instead of taking the customary route around the Cape of Good Hope, this trip, on her maiden voyage, was through the Suez Canal. She sailed through the Straits of Gibraltar, into the Mediterranean Sea and on to Malta, where George and others paid a local boat owner to take them ashore for a short time. They then sailed to Port Said, stopping to load cargo, then at night through the Suez Canal. They woke up early the next morning to watch the locals working on the banks of the canal. The excessive heat on board the ship caused much illness. As they travelled through the Red Sea, the heat and the smell of oil also caused sickness. On they went through the Arabian Sea to Colombo, the capital of Sri Lanka (which at that time was called Ceylon). A Navigation Slip, donated together with this ticket, shows the coordinates for a location 16 miles from Colombo. They again went ashore for a meal at four-pence a head and a bottle of lemonade for a penny. George and another passenger walked to the slums area and were shocked at the state of it compared to Britain’s slums. They then sailed via the Indian Ocean to Fremantle, stopping again for goods to be unloaded. While ashore, they played a game of soccer against the ship’s crew. Then on to Port Adelaide via the Great Australian Bight. Here they shopped for suitable clothing under the advice of some Australian passengers. They then arrived at Port of Melbourne on July 20th 1929, and two days later (on George’s mother’s birthday). George left for Warrnambool. He received his Citizenship Award in 1971. He conducted an electrical retail business in Liebig Street for many years. His son William became principal of the accounting business Sinclair and Wilson, on the retirement of Bill Sinclair, and was actively involved in support of many community organisations. His daughter-in-law, Glenys Phillpot, is actively involved in the Warrnambool community and local government. George was one of 3 orphans on the S.S. Ballarat. (The daughter and son-in-law of one of the other orphans also live in Warrnambool.) Herbert B.G. Larkin, whose rubber-stamped name appears on the ticket, later migrated to Australia and passed away in NSW in 1944. Of Historical Significance, this ticket is for the ship’s maiden voyage via the Suez Canal route (previously the ship travelled via the Cape of Good Hope). It is also the only existing ticket for the "S.S. Ballarat"(3rd) in our collection. Socially, it shows the fare, luggage restrictions, conditions and weekly provisions for a third-class passenger’s voyage from London to Melbourne, which has research potential. This ticket is also of significance to the Local Community, giving the background of the ancestor of a local family. It was also of Personal Significance to the bearer as he kept and preserved it in his possession for at least 46 years before donating it to our museum, together with a Navigation Slip, a map and a summary of his journey to Australia.Third Class steerage Passenger’s Contract Ticket, accompanied by the Navigation Slip, for passage on board the P & O line’s steamer, S.S. Ballarat, to Australia via the Cape Service, from Port of London to Port of Melbourne. The ticket contract is printed on both sides of a thin paper page. The documents have been completed by hand, and the pages have creases as though they have been folded. Details include the date of sailing, amount paid, and the signature of the P & O Branch Service’s representative. The contract ticket lists weekly provisions for the voyage, a disclaimer of the shipping company, a list of dangerous goods not to be carried on board, and fines. The page has straight edges, top and bottom, and perforated edges on the sides; some perforation holes are complete. A small fleur de lies is printed along the inside of each perforation, forming a decorative left and right border. Stamps and inscriptions are on the contract ticket and navigation slip, which also has a black and white photo of a steam ship.The ticket has been stamped in black, No. ‘1040’. Handwritten details are in black pen and ink. Date of departure: ‘Seventh June [192]9’ for the cost of,’33’ [poind], and the sum of ‘33’ pounds is acknowledged as received. ‘Mr George T.H. PHILLPOT’, the age is written as ‘17’, equal to the status of ‘1’ adult, the total number of persons is ‘One’. The fare is handwritten in pen £’33’ and the total £’33’. It has a purple stamp ‘HERBT. B G LARKIN’ and a crossed out stamp ‘FREDERICK WHITE, A handwritten signature ‘_Seymore’. Under the signature, the date is stamped ‘3 JUNE 1929’.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, s.s.ballarat, phillpot, 7 june 1929, george phillpot, george t.h. phillpot, third class passenger, steerage passenger, herbert b g larkin, ticket, voyage, p & o, australia via the cape, cape of good hope, suez canal, passengers’ contract ticket, navigation slip, s.s. ballarat, steamship, 1929, 3-6-1929, 7-6-1929, third-class, steerage, port of london, port of melboune, 33 pounds, george thomas henry phillpot, herbt. b g larkin, _seymore, bolton, manchester, english channel, southampton, bay of biscay, straits of gibraltar, maritia, port said, arabian sea, colombo, sri lanka, ceylon, indian ocean, fremantle, port adelaide, citizenship, 1971, herbert b.g. larkin, s.s. ballarat ii,

No provenanceshows geographic details and extent of WW2 but is undatedPhoto Album- padded covers with black card inserts with mounted B/W photos attached. Several pics missing.Front has 2 coloured images of Japan. Back has 1 coloured image. Inside Front cove is colour pic of Aquitania. First page contains 'pin-up' pics of pre-war starlets Idntifying pics include: Ocean Escort-Australian Convoy,Colombo-Suez, February 1940. Moonstone captures sub (Med 1940, sub Galileo Galilei). Nice work Kimberley H L Anderson. HMS Kimberley served in North Sea and Med. Dyatalawa=town in Sri Lanka. Berbera=British Somaliland taken by Italy in 1940. Dyaluma Falls=Sri Lanka. HMAS Sydney (no date or location).mostly pics of ceylon (sri lanka), some locations identified. sme battle scenes and wreckage pics.

Bib, ill, maps, p.248.non-fictionA significant World War Two mutiny took place on the night of 8 May 1942 in a lonely atoll in the Indian Ocean in a setting of intrigue, rebellion and the blood and tears of war. Japanese naval forces were at the peak of their southward thrust." "While the battle of the Coral Sea raged, gunners of the Ceylon Garrison Artillery on the Cocos (Keeling) Islands off Australia's north-west coast attempted to arrest their British commanding officer and compel him to surrender to the Japanese. One soldier was killed and another wounded, but the mutiny failed and seven men were condemned to death. Ultimately three soldiers were hung, becoming the only Commonwealth troops to be executed for mutiny in World War Twomutiny, world war 1939-1945 - sri lanka

Colour slide in a mount. Buddha Shrine, Colombo, Sri LankaMade in Australia / Colombo (Handwritten) / Buddha-Shrine (Handwritten)slide, robin boyd

Colour slide in a mount. Two houses, Colombo, Sri LankaMade in Australia / Colombo (Handwritten) / Two Houses (Handwritten)slide, robin boyd

The Rev. Dr Robert Gribben was born in 1943 in country Victoria where he was educated through primary and secondary state schools. He entered Queen’s College in 1961 in order to study degrees in law and arts, but after two years discontinued his legal studies and completed his Bachelor of Arts whilst beginning his candidature for the Methodist ministry. In 1965 he and his wife Susan became engaged, but before he could begin his theological studies he was offered the opportunity to undertake his theological studies in Cambridge University in Wesley House. After Susan completed her law degree with honours at Melbourne University, she followed Robert to England in June 1967, and they were married in June 1968 as Robert was completing his Cambridge B.A. He’d received notice that his first Methodist ministry appointment was to be in “Portland No. 2”, but as they had six months before he was to take that up, they moved to India where Robert worked for the Student Christian Movement and Susan for the Church of South India sorting out their legal records. Robert’s placements that followed in the Methodist Church were Portland and Heywood and Highbury Grove Kew, and in the Uniting Church as chaplain of Ormond College, Trinity Church North Balwyn, General Secretary of the Victorian Council of Churches, Wesley Church Melbourne, and Professor of Worship and Mission at the UCA Theological Hall and UFT. He formally retired in 2008. He has been involved with, lectured in, studied at, worked for, chaired committees or directed at one or more times — La Trobe University, Christian Television Association, Australian Consultation on Liturgy, UCA Assembly committees, Lincoln College, England, Brugge Catholic Faculty, Oxford Institute for Methodist Theological Studies, Graduate School in Ecumenism at Bosse, the English Language Liturgical Consultation, World Methodist Council, World Council of Churches, Christian Unity Working Group, the Victorian Casino and Gambling Authority, Centre for Ecumenical Studies, Cambridge Society of Australia, Fellow of the School of Historical Studies Melbourne University, Queen’s College Council, Fellow of Queen’s College, Editor of the Australian Journal of Liturgy, Professorial Fellow of Charles Sturt University, President of the Cornish Association of Victoria, and member of the Council of the Genealogical Society of Victoria. He has written some seven books and edited both editions of Uniting in Worship. On top of all that he has visited, worked in, or represented one body or another in — Colombo, Cairo, Rome, Geneva, Parish, the UK, Bangalore, Mysore, Madras, Kottoyam, Agra, Jaipur, Sri Lanka, Malaysia, Philippines, Japan, Hong Kong, the USA, Canada, Vienna, Israel, Netherlands, Poland, Bangkok, Singapore, Romania, Bucharest, Bulgaria, Greece, Syria, Lebanon, Cyprus, Turkey, Zimbabwe, Ethiopia, Jordan, Italy, Tonga, Finland, Germany, Norway, Denmark, Samoa, South Africa, Spain, Sicily, Chile, Indonesia, New Zealand, Ghana, Nigeria, Russia, Antigua and Jamaica. And on top of all that, he’s had two audiences with the Pope! Susan and Robert have two children and three grandchildren. Head and shoulders portrait of Rev. Dr Robert Gribben."Rev. Dr Robert Gribben", "Church & Nation"rev. dr robert gribben; liturgy; theological hall melbourne

Colour slide in a mount. House, Colombo, Sri LankaMade in Australia / Colombo (Handwritten) / House (Handwritten)sri landka, slide

The first sculpture awarded the Shire of Eltham 'Art in Public Places' Award/Commission. The Judges were Inge King, Jenny Zimmer and Daryl Jackson. The work deals with the juxtaposition of suburban and rural surroundings. This scupture is a typical example of the artist's oevre of the period. This sculptre is site specific and refers to the nature of the environment. The colour - bushfire red / sienna - alludes to the history of fire in the urban/rural fringe and the title, as well as the sculpture's shapes, forms and material refer to the natural and local elements. Judges report noted: "The most vital and expressive work for the site...with a great sense of dynamic movement and vibrant colour. Its' abstract forms will enliven the surroundings and the urban and natural environment. This work is the most appropriate for the site and expressive of the dynamics of an evolving community in which artistic discourse and debate has always thrived." The work has acquired the status of a major landmark from the National Trust. The Breeze is an abstract work made out of welded steel and painted in enamel in bush fire red / sienna. It comprises a series of flat, cut-out shapes, interlocking at different angles, giving the impression of being hinged together rather than fixed. The work references nature and the built environment. Its geometric shapes suggest man-made structures within industry and suburban life, while rural areas can be identified by the organic flame-like shapes fanned by the wind. The circular cut-out in the eye mimics the sun, symbolising the intense heat of the Australian climate, while the colour red alludes to the history of bushfire within the urban and rural fringe. N/Apublic art, ginger, red, sienna, elements, steel, abstract, breeze, fire, sculpture

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.