Showing 542 items
matching decorative item
-
Warrnambool and District Historical Society Inc.
Decorative object - Carnival Ware glass vase, c. 1940
... it was most popular. It was a cheaper version of a decorative item.... It was a cheaper version of a decorative item for the household as well ...This item is an example of Carnival Ware glass. Carnival Ware is pressed glass to which an iridescent surface shimmer has been applied using metallic salts. The trade name of the colour is 'Marigold'. Carnival Ware was first produced in U.S.A in 1908 and production in both U.S. A. and other countries continued until the 1940s, with the 1920s being the decade when it was most popular. It was a cheaper version of a decorative item for the household as well as having a utilitarian purpose and is a collectable glass today.This vase has no known local significance but is retained as an example of an item likely to be found in many local households of the 20th century.This is an orange-coloured pressed glass vase. It is on a stand of three legs and has a fluted patterned top rim. The body of the vase has raised decorations of butterflies and berries.carnival ware, vintage glass ware, carnival ware glass vase -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Doulton Lambeth, Circa 1870 - 1890
... Doulton. The company always made some more decorative items... decorative items, initially still mostly stoneware, and from ...The Royal Doulton company began as a partnership between John Doulton, Martha Jones, and John Wattis an English ceramic and home accessories manufacturer founded in 1815. Operating originally in Vauxhall, London, later moving to Lambeth, in 1882 it opened a factory in Burslem, Stoke-on-Trent, in the centre of English pottery. The business was specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stone wares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware's made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china table wares and decorative items. An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects.Ink bottle, brown salt glazed stoneware with narrow mouth tamped Doulton Lambeth cork missing. Stamp impressed into clay on edge "(2)32 / Doulton / Lambeth" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, stoneware, stoneware jar, doulton lambeth, kitchen ware, salt glazed -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, Royal Doulton, Late 19th to early-20th century
... wares and decorative items. ... wares and decorative items. An early utilitarian stoneware item ...The Royal Doulton company began as a partnership between John Doulton, Martha Jones, and John Watt was an English ceramic and home accessories manufacturer founded in 1815. Operating originally in Vauxhall, London, later moving to Lambeth, in 1882 it opened a factory in Burslem, Stoke-on-Trent, in the centre of English pottery. The business was specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stonewares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware's made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone China table wares and decorative items. An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects. This ink well is historically significant as it represents the method of hand written communication that was still common up until the mid-20th century, before fountain pens and ballpoint pens took over in popularity and convenience.Ceramic, salt-glazed, mid-brown ink bottle. It has a small round mouth, rounded lip that extends past neck, wide shoulders, straight sides, flat base. Handmade. The surface is matt. there are flecks of dark brown in the clay. The bottle has marks on the side.Noneflagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, shipwreck artefact, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, inkwell, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, ink bottle, dwarf ink, salt glazed -
Kew Historical Society Inc
Ceramic - Lidded container, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade container, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, lidded container, constructed through coil work, and using the different forms of coiling as a decorative element. The container has been glazed in yellow and green.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), containers, viola ayling -
Kew Historical Society Inc
Ceramic - Dish, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Moulded dish, with a floral design on the base. The upper part of the dish has a mottled green and black glaze. The petals on the base are highlighted with a deep pink glazeSignature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling -
Kew Historical Society Inc
Ceramic - Lamp base, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade lamp base, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade lamp base, irregularly ridged and with and with the use of green and yellow glazes. The lamp base has a hole for a cord above the foot.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), lamp bases, viola ayling -
Kew Historical Society Inc
Ceramic - Dish, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade deep dish, glazed in green and maroon. The maroon ground includes a splash of green in the centre of the dish.Signature to base: "V. Ayling" and datedceramics, pakington street -- kew (vic.), dishes, viola ayling -
Kew Historical Society Inc
Ceramic - Dish, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade dish, with a floral design etched into the glaze. The container has been glazed in brown.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling -
Kew Historical Society Inc
Ceramic - Lidded ewer, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade ewer, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic lidded ewer fully covered in an olive green glaze. The lower section of the body, the spout and the lid reveal the coil work construction technique used, whereas the upper body is smoothed.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), ewers, viola ayling -
Kew Historical Society Inc
Ceramic - Footed dish, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade oval footed dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, footed oval ceramic dish, covered with a blue glaze. The feet, one of which has been repaired, are created from coils that were then luted to the base.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling -
Kew Historical Society Inc
Ceramic - Madonna and Child, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic sculpture of an abstracted Madonna and Child. The figures are fully covered in an olive green glaze.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, viola ayling -
Kew Historical Society Inc
Ceramic - Reticulated vase, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade, reticulated ceramic vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic vase with the body reticulated between the moulded floral exterior. The vase is fully glazed in a brown.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), vases, viola ayling -
Kew Historical Society Inc
Ceramic - Vase, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade globular ceramic vase, fully covered in red with a green overglaze that has been wiped to reveal the floral pattern.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling -
Kew Historical Society Inc
Ceramic - Lidded container, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade ceramic container, expertly potted and glazed which is representative of Australian ceramic design of the period.Handmade ceramic container, constructed through coil work with the lid and upper body fully glazed and the lower half part glazed in orange.Signature to base: "V. Ayling"ceramics, containers, pakington street -- kew (vic.), viola ayling -
Kew Historical Society Inc
Ceramic - Vase, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, narrow-necked ceramic vase, with a pink glaze overlaid with painted and dripped cream and green glazes within the ridges.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling -
Kew Historical Society Inc
Ceramic - Bookends, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A pair of handmade bookends, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Pair of handmade ceramic bookends fully covered in a white, black and predominantly blue glaze. Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), bookends, viola ayling -
Kew Historical Society Inc
Ceramic - Vase, Viola Ayling
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic vase, fully covered in red with a green overglaze which has been allowed to run down to the foot. Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling -
Kew Historical Society Inc
Collection, Ceramics of Viola Annie Ayling (1911–1990)
... functional and decorative items donated by her granddaughter... functional and decorative items donated by her granddaughter ...Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024.Parent file of the items in the Viola Annie Ayling collection of 1950s and 60s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), viola ayling, ceramics -- victoria (australia) -
Wodonga & District Historical Society Inc
Decorative object - Decorative ceramic bowl, early 20th century
... . It is representative of decorative household items in the early to mid 20th.... It is representative of decorative household items in the early to mid 20th ...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 -
Sunshine and District Historical Society Incorporated
Trench Art, Stewart Noble, BULLET SPOON, Circa 1940
... decorative item made by soldiers, prisoners of war, or civilians... decorative item made by soldiers, prisoners of war, or civilians ...This piece of functional Trench Art was made by Stewart Noble during World War 2 (circa 1940) while serving on a Mine Sweeper among the Pacific Islands. It is believed that the bullet spoon was chrome plated after the war, while he worked at the Government Aircraft Factory. Trench art is described as any decorative item made by soldiers, prisoners of war, or civilians where the manufacture is directly linked to a war. The making of trench art was a popular past time during leisure hours at the front, where skilled military personnel created the items. Common examples of trench art are decorated shell and bullet casings, and items carved from wood and bone. Trench art has been in existence since the Napoleonic wars however it was most common during World War 1, and to a lesser extent during World War 2. This bullet spoon has historic significance because it is an example of the type of functional or artistic small items, that were made from war scrap during spare time by soldiers or other personnel associated with a war. This particular item indicates that a reasonably high degree of skill was required to make the bullet spoon.Chrome plated teaspoon with a discharged .303 bullet for the handle.trench art, bullet spoon, .303 bullet, stewart noble, war souvenier, chrome teaspoon -
Friends of Westgarthtown
Mats, table
... Set of 3 white cotton table mats with decorative borders... with decorative borders. Item 1 is rectangular, with square material ...Set of 3 white cotton table mats with decorative borders. Item 1 is rectangular, with square material section in centre, rounded decorative interwoven cotton ribbon as a decorative trim. Threads connecting ribbons. Items 2 & 3 identical, circular material mats with zigzagged ribbon and thread edges. all items decorated sparsely with embroidered floral motif.Each item has label reading 'ANDERS'handcraft, needlework, mat, decorative, table -
Bendigo Historical Society Inc.
Clothing - CHILD'S NIGHTDRESS, 1880-1900
... to hem. Overlay on each side with decorative stitching. Item... with decorative stitching. Item is trimmed with two rows of 1.5cm lace ...Clothing. Child's white linen waisted nightdress. Scooped round neckline with casing and lace trim. V shaped broiderie lace insert below neckline with 2 cm fabric trim on each side. open at waist. Skirt tightly gathered into casing at waist. Skirt has inverted V shaped insert at centre front from waist to hem. Overlay on each side with decorative stitching. Item is trimmed with two rows of 1.5cm lace. Double layer cap sleeves of broiderie lace with scalloped edges.Centre back opening (33cm) fastened with cotton tape ties at neckline and waist. Fold over collars at back neckline (12cmX 4cm).costume, children's, child's nightdress -
National Wool Museum
Functional object - Spinning Wheel, Philip Elford, 1976-7
... , the wheel became a decorative item in the house. Then in the 90s..., the wheel became a decorative item in the house. Then in the 90s ...Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood) -
Bendigo Historical Society Inc.
Domestic Object - MUNCEY COLLECTION: SILVER TEA SERVICE, 1898
... pot, silver sugar bowl and silver creamer. All items... creamer. All items are decoratively engraved with scroll work ...Silver plated tea service presented to Henry Muncey by his colleagues at the The New Chum Mine on his marriage to Eliza Brooks in 1898. The service consists of a silver coffee pot, a silver tea pot, silver sugar bowl and silver creamer. All items are decoratively engraved with scroll work, floral emblems and punch work. The coffee pot is engraved with the words " Presented to H Muncey by employees New Chum Railway GMC on his marriage 3.2.98".A lozenge with the letters EP with a reclined S in a diamond. William Mammatt & Sons Sheffield. -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, Royal Doulton, 1853-1878
... some more decorative items, initially still mostly stoneware... some more decorative items, initially still mostly stoneware ...The ink bottle was made by the Royal Doulton company which began as a partnership between John Doulton, Martha Jones, and John Wattis an English ceramic and home accessories manufacturer founded in 1815. Operating initially in Vauxhall, London, it later moved to Lambeth, In1882 it opened a factory in Burslem, Stoke on Trent, in the centre of English pottery. The business specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stoneware's, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, wares were marked Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china table wares and decorative items. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken 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. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. 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. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects. Of additional significance is that it was recovered from the wreck of the Loch Ard. A shipwreck that is of additional significance as it is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections 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. Salt glazed stoneware ink bottle, large capacity, tapered lip and body, two-tone brown with some encrustation on surface, still sealed with cork. Inscription in clay. Recovered from the wreck of the LOCH ARD.Stamped into clay "DOULTON LAMBETH"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ink bottle, bulk ink bottle, writing accessory, stationery, stoneware, doulton lambeth, royal doulton, writing equipment -
Churchill Island Heritage Farm
Textile - Jabot
... ’, is a decorative clothing item consisting of fabric or lace designed...’, is a decorative clothing item consisting of fabric or lace designed ...A Jabot, from the French meaning ‘a bird’s crop’, is a decorative clothing item consisting of fabric or lace designed to fall from the throat suspended from or attached to a collar or neckband or simply pinned at the throat. Jabots made of lace were an essential male upper class fashion item in the baroque period but in the late 19th century a jabot would be a cambric or lace bib decorating women’s clothing and it would be held in place with a brooch or a sewn in neckband. This example with its exquisite chemical lace trim could possibly even be clerical in nature. Jabots continue to be worn to this day in the field of Law and in highest formal Scottish evening attire. The lace is embroidered onto a sacrificial fabric which has been treated (initially chemically treated) to dissolve in a chemical solution on completion without damaging the lace. The chemicals used were not environmentally friendly and consequently this method of lace making has developed to use water soluble base fabrics or fabrics which will disintegrate with the application of heat Originally chemical lace was made on a home embroidery machine but is now also known as Schiffli Lace and made on a Schiffli machine. This machine was invented by Isaak Grobli in 1863 using the same principles as the newly invented sewing machine except that the bobbin of the sewing machine was replaced by a shuttle shaped like the hull of a sail boat, hence the name ‘schiffli’ which means ‘little boat’ in Swiss-German. The Schiffli machine uses two threads and makes a stitch similar to a closely spaced zigzag stitch on a domestic sewing machine. Over time the number of needles and shuttles increased until the present day when some machines can be up to 18 metres in length and use over a thousand needles. Previously the pattern was followed by hand using a pantograph arm where the operator followed the design pattern but the development of computer technology has meant that software designed to drive Schiffli machines can now create a wide variety of stitches and lace designs.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was added to and refined over the course of three successive generations of women.Jabot with chemical lace trim.Package contains note: "FICHU c1860/70 (hand made)lace, janet amess lace collection, churchill island, insert, amess, jabot -
Flagstaff Hill Maritime Museum and Village
Container - Ceramic Bottle (Chinese Style), Minton Potteries, Late 19th century
... as a decorative domestic item for display or mass produced for storing... as a decorative domestic item for display or mass produced for storing ...The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor jugs are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods -
Flagstaff Hill Maritime Museum and Village
Container - Ceramic Bottle (Chinese Style), Minton Potteries, Late 19th century
... as a decorative domestic item for display or mass produced for storing... as a decorative domestic item for display or mass produced for storing ...The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor bottles are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods -
Flagstaff Hill Maritime Museum and Village
Functional object - Brass Finial, Russell & Co, circa 1886
... may have been part of a larger decorative item such as a lamp... may have been part of a larger decorative item such as a lamp ...In the 19th century, the Industrial Revolution meant that shipbuilders could build ships using iron. These iron ships could be much larger, with more space for cargo and they didn't need as much work to keep them in good condition. Isambard Kingdom Brunel's "Great Britain" built in 1843, was the first ship to be built entirely of wrought iron. In the 1880's steel began to be used instead of iron. Ships also began to be fitted with steam engines although a great deal of coal was needed to travel even short distances. For this reason, ships continued to be fitted out with sails even though many came with engines. The iron-hulled, four-masted barque, the Falls of Halladale, was a bulk carrier of general cargo. She left New York in August 1908 on her way to Melbourne and Sydney. In her hold, along with 56,763 tiles of unusual beautiful green American slates (roofing tiles), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6500 gallons of oil, 14400 gallons of benzene, and many other manufactured items, were 117 cases of crockery and glassware. Three months later and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland at 3 am on the morning of the 15th of November, 1908. The captain and 29 crew members all survived, but her valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough south west Victoria Crew: 29 The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. The lines flag was of red, blue and white vertical stripes. The Falls of Halladale had a sturdy construction built to carry maximum cargo and able to maintain full sail in heavy gales, one of the last of the ‘windjammers’ that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. Previous to this, heavily loaded vessels could have heavy seas break along the full length of the deck, causing serious injury or even death to those on deck. The new, raised catwalk-type decking allowed the crew to move above the deck stormy conditions. This idea is still used today on the most modern tankers and cargo vessels and has proved to be an important step forward in the safety of men at sea. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles (roof slates), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the night of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on the south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire. This particular artefact was one of many found by John Laidlaw (a local Warrnambool diver) when diving on the Falls of Halladale in the 1960's. In August 1973, John Laidlaw and Stan McPhee went on to discover the underwater location of the Schomberg - a passenger ship that ran aground on December 26th 1855 near Peterborough and which now lies in 825 metres of water. When John Laidlaw died, his family donated a number of artefacts to Flagstaff Hill. The brass finial may have been part of a larger decorative item such as a lamp or clock bracket.This item is significant as it was taken from the Falls of Halladale shipwreck which is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976)A brass, bell shaped object with a body approximately 3 cm high. It has an outer lip, straight sides that taper in and a flat "cap". The inside of the object is plain with evidence of vertigris. It has a decorative topping almost 2 cm high which has a double concave hollow neck.flagstaff hill, flagstaff hill divers, flagstaff hill maritime museum and village, great ocean road, warrnambool, falls of halladale, falls of halladale wreck, shipwreck artefact, artefact, brass artefact, brass finial, brass fitting, shipwreck coast, diver, john laidlaw -
Flagstaff Hill Maritime Museum and Village
Functional object - String Dispenser, Lovell Manufacturing Company, 1900-1948
... decorative, morphing into novelty items for the home. History..., string holders became more decorative, morphing into novelty ...The string has long been a household and office utility, but an easily tangled one. generations of manufactures have devised cast-iron string holders and string reels in an attempt to distribute this material more efficiently. Many different designs of cast-iron string holders exist some nickel, others painted many had an open pattern so clerks behind the counter of the general store could see at a glance if he or she was about to run out of string. In the 20th century, string holders became more decorative, morphing into novelty items for the home. History: Starting from 1869, the young carpenter by trade, Melvin Newton Lovell (1844-1895) from Erie, Pennsylvania, later a manufacturer and successful businessman, was granted numerous patents for various devices, between them several patents for adding machines and cash registers in 1891. The Lovell Manufacturing Company was founded by Melvin Newton Lovell who was born in Allegheny, Venango county, Pennsylvania, on 31 August 1844, to Darius T. Lovell (1815-1855) and Susan B. (Conover) Lovell (1827-1883). When Melvin Lovell was a boy, the family moved to Kerrtown, a village located in the vicinity of Titusville, Pennsylvania. There Melvin served an apprenticeship as a carpenter's and his natural mechanical talent, soon enabled him to become a skilled workman. In 1861, at seventeen years of age, Melvin left home, without parental authority, and joined the Union Army soon after the outbreak of the Civil war, in August 1862, he enlisted as a private in the 127th Pennsylvania Volunteer Infantry, and was discharged the end of May 1863. In 1865 he took up residence in Erie, where he worked as a carpenter for some years. In 1869 Melvin Lovell invented and patented several useful articles for household use, and in that year he began the manufacturing certain of these inventions, in partnership with Franklin Farrar Adams, another inventor. The company's principal products were washing machines and step-ladders but also made many other cast iron household items known as the “Anchor Brand” when manufacturing began in earnest in 1881. As a result, the Lovell Manufacturing Company grew to be one of the largest industrial concerns of its kind in the country, recognized as being the most extensive manufacturer of clothes-wringers in the entire world. Lovell established sales agencies for his products in all parts of the country, and these branches were known as the Lovell stores. These goods were sold on the instalment plan, an innervation at the time for which Lovell was credited as the originator. Lovell invented and patented the famous wringer which bears his name, and in later years he confined his operations largely to the manufacture and improvement of this invention. Lovell was also one of the organisers and stockholders of the Combination Roll & Rubber Manufacturing Co, of New York, which was formed to manufacture his patents. With headquarters in New York and a factory at Bloomfield, New Jersey. Unfortunately, during a trip to Atlanta, while representing the state of Pennsylvania at a trade exposition, he passed away in his prime, on 21 November 1895, and was buried in Erie Cemetery, Erie, PA. Today the Lovell Manufacturing Company and foundry is preserved and situated at Lovell Place 1301 French Street Erie Pennsylvania, the site is regarded as a historic complex and national historic district. It includes nine contributing buildings built between 1883 and 1946 and has now been converted to luxury apartments.An item used in shops, offices etc to dispense string although the item was commonly found in many areas of general commerce. It was made by a factory and patented in the USA by Melvin Lovell who had invented the first adding machine and the original mangle or wringer washing machine used in every house throughout the world from 1891 and the forerunner to our modern day washing machines. Its age and connection to this once notable maker and his company and it's age makes it an interesting item from a historical view point.Dispenser,cast iron for string with a central rod & 2 curved handing hooks. Marked Anchor Brand & blue in colour.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village