Francis Powell (1861-) and Francis Hanmer (1858-1925) founded Powell and Hanmer Ltd in the Summer of 1885 for the manufacturer of bike and carriage lamps. Their first advertisements began to appear in November of 1885. In 1890 they lodged a Patent for “velocipede” lamps to be used by lightweight wheeled vehicles propelled by a rider, such as a bike, tricycle and railroad handcar. In April of 1913, they were selling headlamps for cars and in 1914 built their second factory manufacturing dynamo lighting sets in Rocky Lane Birmingham, also for the production of dynamos for motor cars. Then in 1929 Powell and Hanmer Ltd, was acquired by the Lucas company which was at that time the main competitor for the manufacture of non-electrical equipment for cycles and motorcycles. When a director of Powell and Hanmer joined the board of Austin motor cars, Lucas feared that Austins might encourage Powell and Hanmer to start to produce electrical equipment for supply to the company and as a result this association might affect Lucas's business with other large vehicle manufacturers. As a result, Lucas made an offer to Powell & Hanmer and purchased the business for £500,000. Carbide lighting was used in rural and urban areas of Australia which were not served by electrification. Its use began shortly after 1900 in many countries and continued past the 1950s. Calcium carbide pellets were placed in a container outside the home, with water piped to the container and allowed to drip on the pellets releasing acetylene. This gas was piped to lighting fixtures inside the house, where it was burned, creating a very bright flame. Carbide lighting was inexpensive but was prone to gas leaks and explosions. Early models of the automobile, motorbike and bicycles used carbide lamps as headlamps. Acetylene gas, derived from carbide, enabled early automobiles to drive safely at night. Thick concave mirrors combined with magnifying lenses projected the acetylene flame light. These type of lights were used until reliable batteries and dynamos became available, and manufacturers switched to electric lights. Acetylene lamps were also used on riverboats for night navigation. The National Museum of Australia has a lamp made in about 1910 that was used onboard the PS Enterprise, an 1878 Australian paddle steamer, currently owned by the National Museum of Australia in Canberra. It is still operational, and one of the oldest working paddle steamers in the world, listed on the Australian Register of Historic Vehicles.Acetylene Carbide lamp, Model “Panther” distinct patterned side red and green lenses. These lamps were also known as acetylene gas lamps. They work off a chemical reaction between calcium carbide and water.Model 75flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, carbide lamp, motor vehicle, bike lamp, lighting, vehicle lighting, powell, hanmer, acetylene gas lamp, early lighting

Francis Powell (1861-) and Francis Hanmer (1858-1925) founded Powell and Hanmer Ltd in the Summer of 1885 for the manufacturer of bike and carriage lamps. Their first advertisements began to appear in November of 1885. In 1890 they lodged a Patent for “velocipede” lamps to be used by lightweight wheeled vehicles propelled by a rider, such as a bike, tricycle and railroad handcar. In April of 1913, they were selling headlamps for cars and in 1914 built their second factory manufacturing dynamo lighting sets in Rocky Lane Birmingham, also for the production of dynamos for motor cars. Then in 1929 Powell and Hanmer Ltd, was acquired by the Lucas company which was at that time the main competitor for the manufacture of non-electrical equipment for cycles and motorcycles. When a director of Powell and Hanmer joined the board of Austin motor cars, Lucas feared that Austins might encourage Powell and Hanmer to start to produce electrical equipment for supply to the company and as a result this association might affect Lucas's business with other large vehicle manufacturers. As a result, Lucas made an offer to Powell & Hanmer and purchased the business for £500,000. Carbide lighting was used in rural and urban areas of Australia which were not served by electrification. Its use began shortly after 1900 in many countries and continued past the 1950s. Calcium carbide pellets were placed in a container outside the home, with water piped to the container and allowed to drip on the pellets releasing acetylene. This gas was piped to lighting fixtures inside the house, where it was burned, creating a very bright flame. Carbide lighting was inexpensive but was prone to gas leaks and explosions. Early models of the automobile, motorbike and bicycles used carbide lamps as headlamps. Acetylene gas, derived from carbide, enabled early automobiles to drive safely at night. Thick concave mirrors combined with magnifying lenses projected the acetylene flame light. These type of lights were used until reliable batteries and dynamos became available, and manufacturers switched to electric lights. Acetylene lamps were also used on riverboats for night navigation. The National Museum of Australia has a lamp made in about 1910 that was used onboard the PS Enterprise, an 1878 Australian paddle steamer, currently owned by the National Museum of Australia in Canberra. It is still operational, and one of the oldest working paddle steamers in the world, listed on the Australian Register of Historic Vehicles.Acetylene Carbide lamp, marine pattern burner housing and reflector missing Carbide Lamp, metal. Has plate for attaching to wall, & gimbal to allow lamp to remain vertical. Noneflagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, carbide lamp, motor vehicle, bike lamp, lighting, vehicle lighting, powell, hanmer, acetylene gas lamp, early lighting, marine lighting

Long thin shaft standing on a three legged round base. Handle attached to round metal piece. Handle turns shaft on other side of metal piece.Burman & sons|Birmingham Englandrural industry, farm machinery

1 pen with wooden handle plus box of metal nibs, small cardboard box with red, green & yellow graphics, worded circular pointed pens scribbler pen No 147.C.Brandauer & Co Ltd Birminghamdomestic equipment, writing equipment, pen & nibs

Brooch in shape of two crossed racquets and horseshoe. Birmingham Sterling silver. Materials: Silver/Metaltennis

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about Richard Routledge is that he was a tool maker and retailer that operated a business at either 23 or 64 Bull St Birmingham between 1869 to sometime in the early 20th century. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Hollow type Marked Routledge No.8 Blade Stamped JAS Burden (owner). flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about Richard Routledge is that he was a tool maker and retailer that operated a business at either 23 or 64 Bull St Birmingham between 1869 to sometime in the early 20th century. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Plane, Moulding, Hollow Size No 18 Routledge Maker (Owner "J.A.S.Burden")flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about Richard Routledge is that he was a tool maker and retailer that operated a business at either 23 or 64 Bull St Birmingham between 1869 to sometime in the early 20th century. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane. Stamped JAS Burden (owner) also No 2flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Hudson's Soap Powder, was the first satisfactory and commercially successful soap powder and was made in Liverpool by Robert Spear Hudson. He was also an innovator in using advertising, commissioning striking images from professional artists and paid for publicity , something which few other businesses did, and as such Hudson's soap became a household name. Horse, steam and electric tramcars, print periodicals and chemist shops carried his advertisements. This sign was manufactured by Patent Enamel Co Ltd was a company built in 1889 at Selly Oak, Borough of Birmingham, West Midlands, England, United Kingdom. The business was the first factory specifically devoted to enameled iron sign making. It had twelve furnaces for fusing the enamel, two scaling furnaces, and a large printing room, plus a huge area for steampipe drying. The company also smelted its own enamels and colour oxides. It is believed that the factory was decommissioned and demolished in the 1960's.the first factory specifically devoted to enameled iron sign making. It had twelve furnaces for fusing the enamel, two scaling furnaces, and a large printing room, plus a huge area for steampipe drying. The company also smelted its own enamels and colour oxides.The factory was decommissioned and demolished in the 1960s.The signage demonstrates the increasing demand for domestic soap products and new forms of advertising. The soap business was apart of the flourishing export trade between Australia and Britain during the height of the British Empire.Enamel advertising sign for Hudson's soapflagstaff hill, warrnambool, maritime museum, hudson's soap, advertising signage, patent enamel co ltd, selly oak, borough of birmingham, robert spear hudson

Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara

Spirit level wooden with a horizontal and vertical levels, with brass fittings maker Parry and Rott, Ltd Birminghamflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spirit level

This article of clothing is specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist. In the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, and wedding gowns. World War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted "New Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950. Most of the petticoats were netlike crinoline, Worn by Marjorie Burton. It may have been worn underneath dresses with full skirts or may have been designed for a short style wedding dress. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who mademany of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of ahome-made item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A coarse, net, white starched petticoat. It is short and has no bodice. It is home-made, machine stitched and fastens at the waist with metal hooks and eyes. It has four panelspetticoat women's-clothing burton-marjorie

This article of clothing is specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist. In the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, and wedding gowns. World War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted "New Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950. Most of the petticoats were netlike crinoline, Worn by Marjorie Burton. It may have been worn underneath dresses with full skirts or may have been designed for a short style wedding dress. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who mademany of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of a home-made item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A coarse, net, white starched petticoat. It is short and has no bodice. It is home-made, machine stitched and fastens at the waist with metal hooks and eyes. It has four panelspetticoat women's-clothing burton-marjorie

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But 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 4am the fog lifted. A man 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. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. 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 broke over the ship and the top deck was 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 LOCH ARD 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 had raced onto 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 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 state of exhaustion, he told the men of the tragedy. Tom 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, this time 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 LOCH ARD 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 all of her family in the tragedy. Ten days after the LOCH ARD 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 LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. 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 artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl is split and verdigris stained packing paper is stuck to rear of spoon. flagstaff hill, warrnambool, shipwrecked coast, 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, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

Hat-pins were worn to anchor hats to the head and could be considered a functional piece of jewellery. Traditionally inserted into the crown of the hat and through the hair piled atop the head.Hat-pins were needed to secure the large, lady’s hats fashionable at the time. The Maggs family were early settlers in Moorabbin Shirec1910, 2 lady's silver hat-pins, with hollow circular silver surround, around a thistle flowerHallmark Birmingham Assay Office Englandjewellery, clothing, dressmaking, craftwork, silversmiths, maggs geoff, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, brighton

Timber & Brass Measuring / Set Square Light timber legs with brass reinforced corner construction Measurements in inches along both legs of the set squareJ. Rabone & Sons Birmingham No 1535

Scale metal black with two wheels at rear weighs to 4 cwt. W & T Avery Made in Birmingham. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Vesta cases, also known as match safes, are small boxes that are used to carry matches and keep them safe from the elements. In the early 1800's, it was common to carry matches, since some type of portable fire was needed to light lanterns and stoves. The matches of that day were crude compared to today's standards, and were known to light when making contact with each other, and sometimes even spontaneously. In order to alleviate this potentially hazardous situation, it made good sense to utilize a Vesta case or match safe. One of the more interesting features of the vesta case or match safes is that they almost always include some type of rough or ribbed surface, usually on the bottom of the case that is used for striking the matches. This vesta case is a portable pocket vesta. These cases take their name from the virgin Roman goddess of fire, home, hearth and family. Usually Vesta was depicted as the fire in her temple. Only Vestals (her priestesses) were allowed into her temple. Her association with fire made her name the natural choice for British companies that manufactured matches. The hallmarking of sterling silver is based on a combination of marks that makes possible the identification of origin and age. The town mark identifies the Assay Office where the item was verified. The town mark on this piece is an anchor, so it is from Birmingham, England. The lion passant certifies the silver quality, as at least 925. The maker's mark, identifying the silversmith presenting the piece to the assay office is D&LS for David and Lionel Spiers. The date letter identifies the year the piece was verified, this item was verified in 1885. Lionel Spiers was a significant figure in the Jewellery Quarter and in 1906 was chairman of the Jewellers and Silversmiths Association. The item also has NHILL 1928 engraved on the front, this is likely a recent addition to the piece. Nhill is a town in Victoria so it could be that the previous owner lived here or it was gifted in commemoration. The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.Silver vesta case with ribbed strike plate at the end and an etched design. D&LS/ lion symbol/ anchor symbol/ l/ Sovereign head/ [hallmarks] CHH/ NHILL 1928/ [obverse inscription] A01198/burke museum, silver, vesta, fire, silversmiths

Engine-Tangye's Patent size B engine 4 inch cyldiametre 8 inch stroke. 'Birmingham' painted green.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Moulding plane - hollow. Maker Atkin and Sons Sheffield Works, Birmingham. Owner W Worrall Size 14 stampedflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, moulding plane, atkin and sons sheffield works, w worrall

Plane, Moulding, Side Bead, single box. stamped JB, A & S BENEFACTUM, made by Atkin & son Sheffield Birmingham.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane, moulding, atkin & son

Letter 1784 January 16, London to Mr Richd Rodda at the Preachinghouse in Birmingham, from John Wesley. Holograph, signed. john wesley, richd rodda

A spokeshave is a tool used to shape and smooth wooden rods and shafts - often for use as wheel spokes, chair legs . Spokeshaves can be made from flat-bottom, concave, or convex soles, depending on the type of job to be performed. Spokeshaves can include one or more sharpened notches along which the wooden shaft is pulled in order to shave it down to the proper diameter. Historically, spokeshave blades were made of metal, whilst the body and handles were wood. An early design consisted of a metal blade with a pair of tangs to which the wooden handles were attached. Like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. By the twentieth century metal handles and detachable blades had become the most common. Preston Tools was an English tool making company also known as E.P. Tools and Edward Preston Tools. Edward Preston Sr. (1805-1883) was first listed as a plane maker at 77 Lichfield Street in the 1833 Birmingham Directory but it is believed he may have started business there as early as 1825. Around 1850 his son, Edward Preston Jr. (1835-1908) left school to join his father's business and he later started up his own "wood and brass spirit level manufactory" at 97-1/2 Lichfield Street by 1864. By 1866 Edward Jr. had added planes, routers, joiners, coach, gun, cabinet and carpenters tools to his line, and the following year he moved his shop from his father's address and relocated to 26 Newton Street, before moving again to a much larger premises at 22-24 Whittall Street. This later became the office and factory of Edward Preston and Sons, who were forced to liquidate in 1934, due mainly to the Great Depression and mismanagement of the company. The plane making concern was sold to the Sheffield firm of C. & J. Hampton, who had subsequently merged in 1932 with Record Ridgeway Ltd.An ornate steel spokeshave wood plane with an adjustable screw.PRESTONS PATENTwoodwork, tools, spokeshave, moorabbin, cheltenham, bentleigh, early settlers, pioneers, market gardeners, woodplanes, craftwork, bicycle wheels, furniture, cabinetmaking, cartwheels, wagons, drays, preston edward, preston tools ltd

Items in the collection re Patrick Joseph Morgan, pre WW1 service, No 3415 AIF, KIA. Refer Cat No 1848P for his service history..1) Metal uniform button base with possible shrapnel damage. Loop on rear still has string attached. .2) Metal uniform button base with possible shrapnel damage. Plain brass loop on rear in centre. .3) British penny with dent, possibly from a bullet or shrapnel. Most markings are destroyed..1) “Made in Birmingham" .2) “Made in London"uniforms-army, numismatics-coins

Cast iron scales with porcelain plate and set of weights. Black enamel with red and gold banding, white porcelain plate with W & T Avery Ltd insignia underneath. Six weights, 2lb, 1lb, 8oz, 4oz, 2oz, 1oz.W & T Avery Birmingham to weigh 7lbsweighing, weights & measures, scales, k33.1.2.3.4.5.6.8

Small glass bottle with enamel lid. Silver lid with 2 pink/purple flowers and 2 flower buds on stem with green leaves on turquoise background - enamel top.Silver hallmarks: Anchor - Birmingham. Lion - British.enamel, bottle - glass

Birmingham silver brooch in shape of a horseshoe with tennis racquet and ball held by a hand. Inscribed: BEST WISHES. Materials: Silver/Metaltennis

This dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bent stem and buckled bowl. Only 5% of original plate remains and base metal exhibits cu, fe, zi, oxidisation in bright spots. Some verdigris and an amount of encrustation on front and back of the spoon. Outlines of five makers marks are visible - Crown, Elipse, Rounded square, Circle, Diamond.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, spoon