Part of the Mooney Collection held at Langi Morgala Museum. Wooden bowl carved by Australian Indigenous people. Long carved out boat hull shaped bow. It has carvings of water or an eel on the outside. Used to carry food or wood.Carvings of water or an eel on the outside of the bowl.

Josiah Spode I (1733-1797) founded the Stoke-on-Trent based pottery company, Spode, in 1770.Three small coffee cups in white china patterned with blue flowers. One small white china bowl with blue stencil pattern.Back of bowl - S.H. Back of one cup - Spode crockery domestic-items-spode bowl cups-coffee china

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Perpetual Cup awarded to the winning school in the U-17 Lap of the Lake competition 1957 - 1977 and 1980. Ballarat Clarendon College won the trophy 1980 only. Large double-handle plain silver cup with lid on melamine base; inscribed silver plaque around base; inscriptions on front and verso of cup bowl;Face of bowl: THOMAS / JEWELLERS / CUP Verso of bowl: SCHOOLBOYS / LAP OF LAKE / U-17 Plaque on base: WINNERS / 1957 - 1980

Clarendon PLC celebrated its 125th anniversary on 11-12 September 1993. Events included a dinner on Saturday evening at the Balanada Room, Main Road, Ballarat, a Sunday morning service in the College Chapel, Sturt Street campus and an informal luncheon in Watson Hall, Mair Street campus. These bowls were hand made by Susan Gillett (Hoskins) CPLC 1966 as gifts provided to old collegians attending the event. Three hand painted fire-kilned pottery bowls with blue and yellow decoration to border and base of bowlPainted inside bowl: C.P.L.C. 125 YEARS Inscribed on base: SUSANclarendon-presbyterian-ladies-college, 1993, 125th anniversary

This hand operated beater is the precursor to the electric beater. It has a hole in the top to add ingredients as they are beaten together. Pottery bowl made by Hoffman Australia.Bottom of cream coloured bowl: HOFFMAN 24 AUSTRALIAcooking, hand operated beater, hand operated mixer/blender

Part of Kyneton Fire Brigade trophy collectionPart of Kyneton Fire Brigade trophy collectionCut crystal bowl, star pattern on base, leaves and flowers on sides, scalloped edge at top. Manufacturer's sticker on side of bowl: Bohemian / Hand / Cut / Crystal / Made in Czeckoslovakia. trophy, kyneton fire brigade, country fire authority, fire brigade demonstrations

St Luke’s Anglican Church officially opened on 15 March 1863. It was constructed from locally hewn stone. After serving the congregation for more than a century, the Church was closed by the Health Commission due to its deteriorated condition which was judged to be beyond repair. It was demolished by voluntary labour on the 10 – 11 August 1968. St Luke’s originally operated as a branch of the Albury church. The first resident minister at Wodonga was Rev. J. H. White who came in 1879. Much of the demolition of the church was organised and carried out by Raymond John Schmidt, a long-time parishioner of St Luke’s. After the demolition, the font was relocated to the Schmidt family garden. It was the wish of Ray Schmidt and his wife Elizabeth that the Font should come to the Wodonga & District Historical Society after their deaths. It is now displayed at Hut 97.A baptismal font made from hewn stone from the Wodonga area. Central bowl for holy water is surrounded by an inscription.Around bowl "SUFFER THE LITTLE CHILDREN WHO COME UNTO ME"st luke's church wodonga, religious ceremonial items, anglican church wodonga

Sir Frederick William Hewitt (1857-1916) wrote one of the earliest comprehensive textbooks on anaesthesia, and designed several pieces of anaesthetic equipment. In 1901, he described his wide-bore ether inhaler, a modification of the Clover Ether Inhaler. Unlike the Clover, it can be refilled with ether while still in use, and the mask is screwed into place so that it "cannot be unexpectedly detached." This version is a modified Hewitt's Inhaler which has a narrower 'ways' than the original Hewitt's, and no water compartment. Additionally, one side of the bowl is made of glass which enabled the person administering anaesthesia to see the level remaining in the bowl. Bowl shaped inhaler with a glass bowl base and metal dome top with a connector which appears to be for a rebreather bag. There is a metal switch at the base of the glass bowl to alter or regulate the flow.Stamped into central tube: COXETER LONDON Stamped into side of metal dome: 6460hewitt, wide-bore, clover, ether, anaesthesia, anesthesiology, anaesthesiology

The wood from which the bowl was turned came from the original Lone Pine Tree that stood by the Shrine of Remembrance in Melbourne for many years.A round bowl made from pine wood. Details around the bottom. "The Lone Pine Gallipoli produced seeds which were subsequently planted in Australia. This bowel was made from the wood of one of those trees"

Colour slide in a mount. Miraggio (seated figure) sculpture by Pino Conte at Sidney Myer Music Bowl, MelbourneMade in Australia / 23 / JAN 65M / Myer Music Bowl Sculpture: (Handwritten)melbourne, slide

This "mixing" bowl was used in a period before electric food processors and mixers were readily available(1940's). Basic food ingrediences requiring mixing such as cakes scones and bread had to be hand blended.This mixing bowl is very significant to the Kiewa Valley andrural regions because it details not only what kitchens, be they commercial, domestic or rural camp, required to be stocked with but also a period in time when electrical goods such as blenders were not on in production and electricity was not available.This bowl is made from steel and has a green enamel covering. The rim of the bowl has a black border to highlight its edge.nilmixing bowl, kitchen

Sugar bowl belonging to a set produced for use at the Moorabbin Arts Centre (now Kingston Arts).White ceramic sugar bowl with lid and Moorabbin Arts Centre logo on front.Marked on base: Royal Porcelain / Kingdom of Thailand / Oven to Table / Dishwasher - safe / Microwave - safeephemera, crockery, tableware, moorabbin arts centre

This decorative bowl is typical of items used in a Victorian household for decorative purposes or to serve items such as fruit. It has been lovingly handmade and restored carefully to match the original.This alabaster bowl is representative of handmade decorative and useful items of the Victorian era.Bowl; round, hand-crafted, shallow oval alabaster bowl on a short pedestal with carved handles on opposing sides. Light brown with dark grey/black and red flecks. Stone has a polished surface, leaves outline (acanthus plant) etched inside the bowl. The pedestal has been crafted separately and expertly attached to the base. Several careful repairs were previously made to preserve the bowl.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bowl, alabaster, decorative item, fruit bowl, handmade bowl

Footed, electroplated nickel silver sugar bowl, presented to Mr R W Pettitt.Footed, electroplated nickel silver sugar bowl, presented to Mr R W Pettitt.PEERLE[S][S] PLATE/ EPNSpettitt, mr r. w.

Wooden Bowl (turned) made from the wood of the SS "Edina" - beeswax finish, some wear evident.Small brass plaque pinned to side of bowl stating "MADE FROM / THE WOOD OF / SS EDINA"ss edina

This small bowl was won by Alex Todd for marksmanship at the Holy Trinity Anglican Church Bazaar in Bacchus Marsh in 1935. It was described in the Bacchus Marsh Express newspaper as a piece of Local Objet d'Art. The Express noted that it was 'made and donated to the Ladies' Guild by Mr. Walter Simon, of Bacchus Marsh. A local osage orange tree furnished the wood for the bowl, which was one of many articles that Mr. Simon's lathe has shaped from time to time, the grain of the osage timber being especially suitable for such work', Express, 25 May, 1935, p.2. A small polished wood bowl with unattached wooden lid. woodworking

Part of the Uebergang Collection. Used by the Percy Uebergang family in the early 20th century. A photograph of twins Ray and Joyce sitting in bowls is in the collection. Joyce is sitting in this bowl. [P0127]Large cream china bowl with striped decoration on rim and swirling green stripes below. Interior is cream. Part of a matching set containing bowl, ewer, soap dish and toothbrush holder.Base: 1796.2 Side: H1796.2toilet sets, ablutions, bowls, uebergang, allansford, toilet sets, ablutions, bowls, uebergang, allansford

A washstand was a standard piece of furniture in many Victorian bedrooms. On it stood a jug of cold water, a bowl, and a clean rag. The person washed first thing in the morning, immediately after rising. Most bedrooms were cold, chilly places, especially as the sash windows were kept open at the top and bottom (regardless of weather) to allow good ventilation and reduce the risk of illness. This meant in winter most people kept their nightclothes and worked on one part of their body at a time. The art of a stand-up wash was to pour water into the bowl. The soaked flannel was then rubbed on each part of the body, and rinsed. Once the water became too soiled it was discarded into the slop bucket and more water poured into the bowl. Working methodically, all of the body was cleaned, with each part being scrubbed and dried before moving onto the next bit. This wash bowl and jug are typical of the equipment used for personal bathing 19thC and early 20thCA large bowl and jug used in the bedroom for personal hygiene 19thC personal hygiene, water pitchers, jugs, bowls, porcelain, moorabbin, bentleigh, cheltenham

This device would separate the cream from milk using a hand operated lever. When turned, the lever would activate a disc which would spin the separator bowl at a great speed. Through this use of centrifugal force, the cream would gather in the middle while the milk would be pulled towards the outside walls of the bowl. Once the rotation ceased, the milk and cream would flow out of two separate spouts. Prior to the invention of the separator, gravity was used to naturally separate the cream from the milk. The cream rose to the top and was then skimmed by hand. This process was lengthy and often resulted in sour milk, so the invention of the mechanical separator was popular in the dairy industry as there was less waste and encouraged greater production levels. This separator is missing its bowl, however the two spouts for the milk and the cream can clearly be seen.Metal top, bowl missing ;burgundy pedestal base with handlefarm machinery, dairy equipment, milk, cream, separator, hand operated

This bowl was used in the home of Mrs. Laura Sommer nee Costa grandmother of one of the life members of Wodonga & District Historical Society who donated this item to our collection. It is representative of decorative household items in the early to mid 20th century.This item is an outstanding example of popular decorative household items from the 19th and early 20th century.A large ceramic decorative bowl featuring rural images. The primary colours of the bowl is a deep blue with gilt edges and markings. It features 2 rural scenes showing men with horses and a cart. The top edge is slightly contoured. There is a maker's mark underneath the bowl.Maker's map on base: A small flower within and larger flower shape with "MADE IN ENGLAND" written around it.decorative bowls, domestic items, ceramics, english ceramics and porcelain

This bowl was mass produced and was typical of mixing bowls used in homes during the 1950's in the Kiewa Valley.Women in the Kiewa Valley cooked at home for their family and for school and church fetes. This bowl was used for cake and biscuit mixtures. A large bone coloured mixing bowl with a lip for pouring. It has diagonal grooves around the outside.food. mixing bowl. kitchen. cooking. ceramic.

Sterling Circa 1768 Paul Revere Reproduction Bowl manufactured by Shreve Crump & Low Co. Currently there is no information about the 150th Field Artillery visit to Bendigo in 1942 although Defence manufacturing in Bendigo has a long history with Thales continuing to produce machinery and vehicles on the original site of the Ordnance Factory which began operating in 1943.Large engraved silver bowl. Presented to / The City of Bendigo / By the Officers and Men / of the / 150th Field Artillery Army of the United States / In Grateful Remembrance of the Warm Hospitality extended to them / By the Citizens of Bendigo / In February 1942 Underside; Shreve, Crump & Low and Co/ sterling / 809 by / P. Revere / Boston 1768 / Sons of Liberty / reproductioncity of bendigo commerce

Colour slide in a mount. Miraggio (seated figure) sculpture by Pino Conte at Sidney Myer Music Bowl, MelbourneMade in Australia / 24 / JAN 65M / Encircled 62 (Handwritten) / Myer Music Bowl Sculpture (Handwritten)melbourne, slide

The bowl was presented to ANZCA by Dr K Inbasegaran on behalf of the Malaysian Society of Anesthesiologists, Academy of Medicine of Malaysia, at the 2003 Hobart Annual Scientific Meeting (ASM). Dr. Richard Willis was President of the ANZCA at the time and formally accepted the gift during the ASM.Pewter bowl on raised round base with gold plated decorated inlay in an ornate flowery scroll pattern. The gift details are engraved on the one side of the bowl.[front] WITH COMPLIMENTS / TO ANZCA / FROM MAL. SOC. ANAES. / MAY 2003 [base, maker's mark] ROYAL / SELANGOR / PEWTERacademy of medicine of malaysia, inbasegaran, dr willis, richard, malaysia, anesthesiologists, royal selangor, malaysian society of anesthesiologists

The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is a scoop or large bowl at one end for the material to be weighted and a flat platform at the other end that holds the weights. Around the cast iron base is an embossed strip weight and bowl missing.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village