BHS CollectionLarge double glazed round ceramic jar. The main body is beige in colour, the top is light brown. The mark 2P is on the top side. The jar is 17 cm. tall, the diameter at the bottom is 11.4 cm, the mouth opening is 7cm. from George Harris estatedomestic equipment, food storage & preservation

Colour photograph showing the Lady Harriet barge moored on North side of Bullock Island at mouth of North Arm with Kalimna enscarpment in background, some vegetation on Bullock Island on right Lakes Entrance Victoria. Also other photographs taken at slightly different angleboats and boating, barges

This postcard folder contains lithographs of photographs taken locally by Georg Rose between 1880 and 1942. He reproduced them at his company's premises, the Rose Stereographic Company at Armadale, Victoria. The postcard folder was purchased as a Warrnambool souvenir by the donor's parents around 1945 to 1950. Interestingly, the city on the cover is printed as "Warrambool", which is a location in New South Wales, but the postcards within all have the locations and text of Warrnambool. The photographs include the 'new' concrete bridge, built in 1922 to replace the original bridge, built in 1872. The boathouses belonging to Proudfoots and to Flett/Fanny Nelson are also pictured on the Hopkins River mouth. The twelve photographs included locations connected to other items in our Collection. The photographs are titled: - b. The Avenue and War Memorial. Warrnambool. Vic. c. The Blow-hole. Thunder Point. Warrnambool. Vic. d. Botanical Gardens. Warrnambool. Vic. e. Eagle Rock. Warrnambool. Vic. f. The New Concrete Bridge and Breakwater. Warrnambool. Vic. g. Liebig Street. Warrnambool. Vic. h. Looking to Thunder Point. Warrnambool. Vic. i. The Beach. Warrnambool. Vic. j. Hopkins Falls. Warrnambool. Vic. k. Shelly Beach. Warrnambool. Vic. l. The Mouth of the Hopkins River. Warrnambool. Vic. m. Panorama of Warrnambool. Vic. [Kepler Street towards Presbyterian Church on Spence St] George Rose, 1861-1942: - famous for his Late 19th and early 20th century photography. He was born in Clunes, Victoria, and was in his 20th year when he founded Rose Stereograph Company in 1880. He took the opportunity of a popular trend of the times to produce stereographs, pairs of almost duplicate photographs which appeared to be in 3D when viewed in a handheld stereo viewer. By the 1920s these lost their popularity, so he used his photographic skills to produce cards and postcards of scenes and people. The photographs in this postcard folder were taken between 1880 and 1942 by the renowned Victorian photographer George Rose. The locations match photographs and postcards in our collection that were taken at different times. A comparison between them shows the changes over time in the land and bay, the buildings and other structures, transportation and even the fashions of the times, building the story of our local history.This copy of a postcard folder has a blue-grey textured rectangular card cover with a sketch of a rose on the front along with the name of the postcard series. the location of the series' focus, the producer's details and lines for adding an address. The folded cover contains a long, concertinaed page with six titled photographs on each side, totalling twelve in all. Interestingly, the cover has the location name of "Warrambool", a place in NSW, instead of Warrnambool, the location of all of the photographs inside. The folder contains scenes from Warrnambool and nearby popular areas including Lady Bay, Port of Warrnambool, Warrnambool Breakwater, Viaduct, Merri River Footbridge, the Hopkins River Mouth, with Proudfoot’s and the Fanny Nelson/Flett boathouses. The cover has a sketch of a rose and inscriptions. The photographs for the lithographs were taken prior between 1880 and 1942 by well-known Victorian photographer, George Rose, Rose Stereograph Company of Armadale, Victoria.Image: [Rose with rosebud and leaves] Printed: "Rose Series / Picturesque Views of / WARRAMBOOL / AUSTRALIA" [correct spelling is WARRNAMBOOL] "PUBLISHED BY / ROSE STEREOGRAPH CO / ARMADALE. VIC." Printed lines (3) for an address. Printed rectangle [ ] for attaching a stamp.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, picturesque views of warramble, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance 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 shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections. Mouth has cork seal, partly removed, with content remnants inside. Tooled cork-top finish with ring below, slightly bulged neck. Shoulder a line where shoulder meets body. Body tapers inwards to base. Heel varies in width. Base is uneven. Pushed up base has pontil mark. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle

The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raining funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 by Syn Emery and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. Very significant in local public and social functions and a part of local folk lore.The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raising funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. tin kan band syn emery music

B/W Main Street looking West. Vehicles angle parked in street. Brick Bull and Mouth Hotel and Dane Bros Wine Spirits Store on left. Coles. George Mitchell & Sons and Norman Harding on right.stawell businesses streetscape

Valentine Series No 1078 Main Street looking East from area in front of Town Hall c1930 Town Hall Hotel Post Office and Post Office Hotel and Bull and Mouth Hotel are visible. Vehicles in street.Valentine Series No. 1078 Main Street Stawellstawell business streetscape

An elderly man listening to a Clarke & Smith talking book machine, whilst sitting on a lounge chair. In the background is a wooden sideboard. The man is smiling and has raised his hand to his mouth as he becomes enveloped in the story. Digital image of man sitting in a chair listening to talking booksroyal victorian institute for the blind, talking book machines

This item is a cheap Penny Whistle made in Thailand Circa 1955. The item was one of the first wave of imports from the growing Asian steel producers. This was an era where cheaper Asia based steel companies did not compete against the stronger, and well established Australian ones. This Penny Whistle was "roughly" made and possibly purchased by the Victorian Education Department for use in school bands and music classes. Schools within the Kiewa Valley would have used them to integrate students the fundamentals of reading music and playing basic musical scores. Later conversion from steel to plastics would have been more conducive to multiple users in a classroom environment (more hygienic and rust proof.This item shows how the "cheaper" invasion of all types of manufactured goods from the Asian regions have altered the purchasing patterns of rural Australians(the more traditional consumer). The cost imbalance of purchasing from "The Mother Country (England)" or European supply versus the Asian manufacturers was due to not only the financial pressures post World War II but also in the elimination of Tariff restrictions placed on non favoured suppliers.This tin Penny Whistle is made from rolled tin(steel), cylindrical in shape, with a wooden Fipple plug at the mouth end and six note holes starting half way down the front side evenly spaced and ending 35mm from the bottom. This whistle is in the key of D"G steel & Co. D"music, wind instruments, whistle, celtic music

Carved wooden face mask with hollow eyes, nose and mouth. Decorated with ochre, yellow, black and white pigment. Top and back of mask is formed with plant serials, woven twine and reeds form the frame and mane down the centre and back of the mask. Hessian inside the mask.

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

A Clear Glass Bottle With Smooth Mouth. Moulded Label ''Wm. WHITTAKER & SONS DUNOLLY On The Front. It also has a moulded coat of arms with a kangaroo and an emu on either side of a shield with a rising sun on the top. The bottle is approximately 6 cm in diameter and 22 cm high.''Wm. WHITTAKER & SONS DUNNOLLY''food technology, bottling, soft drink bottle

Black and white photograph, 1 man, photograph of the Australian Weight Champion Lynden Hosking posing for the camera with his medal in his mouth and boxing gloves, 2/11/92. Bendigo Advertiser description: Lynden Hosking Australian Senior Welter Weight Champion 67Kgsrecreations, sports, awards

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

Japanese sword and scabbard. Sword hilt has what appears to be an ivory inlay then is wrapped in cotton? twine. It also has brass decorations on each end of the hilt and a brass guard. The scabbard is made of metal with a brass tip, brass decoration on the mouth and brass carrying ring.japanese, world war two, world war 2, ww2, ww11

Also three black and white copies 17 x 25First generation black and white postcard of the Kalimna area of the Gippsland Lakes. It shows a residence surrounded by a paling fence at Maringa Creek in foreground, dead vegetation at mouth of creek. Steep cliffs of lake shore opposite low lying Rigby Island. Lakes Entrance VictoriaKalimna and Reeves River. Gen View.waterways, topography

An Austox "Dental and Midwifery" (D-M) Machine on a stand with castors. The machine has attached black corrugated tubing with masks to go over the nose and mouth. There are two white, circular chambers on either side of the machine into which oxygen and nitrous oxide respectively were piped.anaesthesia, midwifery, dentistry, nitrous oxide, oxygen gas, oxygen

This design of ink bottle or ink well was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf ink bottle. It was recovered from the wreck of the 1895-1902 ship Inverlochy and is part of the John Chance Collection. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use. Ink wells, used with steel nib dip pens, were commonly used up until the mid-20th century. The pens only held a small amount of ink so users had to frequently dip the nib of the pen into an ink well for more ink. Hand writing with pen and ink left wet writing on the paper, so blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased, ready to use, or in the powdered form, which needed to be mixed with water. After the invention of fountain pens, which had a reservoir of ink, and then ballpoint pens, which also had ink that flowed freely, the dip pen was slowly replaced. However, artisans continue to use nib pens to create beautiful calligraphy. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This ink bottle is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The Ink bottle also has significant as it was recovered by John Chance, a diver from the wreck of the Inverlochy in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. This Ink bottle is significant because of its historical connection to the barque Inverlochy, which is an example of a commercial international steel sailing barque and is listed on the Victorian Heritage Database VHR S338. The Inverlochy is significant for its cargo, which is a snapshot of the kind of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Ink bottle or ink well; cylindrical shaped, salt-glazed, mid-brown ceramic bottle. It has a small round mouth, rounded lip that extend past the short neck, wide shoulders, straight sides, flat bottom. Handmade. Also called a Penny Ink Well.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, ink bottle, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, dwarf ink

This bottle is sometimes referred to as a black glass 'Gallon' bottle. It is used for storing and transporting liquor such as port or madeira. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020. The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in Flagstaff Hill Maritime Museum collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases and other medical issues before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, glass, solid dark purple (black), round, matt surface. Glass ring below mouth, neck is slightly bulbous, body tapers slightly inward from shoulder to base. Base is concave with pontil mark. Bottle has no inscription. Generally used for storing port.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handmade bottle, handmade english beer bottle, pontil bottle, black glass, gallon, purple bottle, ale bottle, porter bottle

Cypriot White Painted Ware from Cypro-Archaic PeriodThe inside of the rim and the round of the mouth are painted. The neck has two friezes of circles separated by lines, two bands above and below and a set of lines on the shoulder. The body has columns of concentric circles painted between the twin-looped handles, another set of horizontal lines below. cypriot

Photograph was donated by Claire Flowers, a granddaughter of George Brown.Black and white copy of original photograph which shows shearers grouped together for a photograph inside(?) an unidentified shearing shed. Nearly all of them are wearing sun-hats and most are holding cups or plates. The only person identified is George Brown, in front row with pipe in mouth.On printed slip of paper with photograph: "Photo of shearers at Linton, Front row, first left with pipe in mouht is my grandfather george Brown who was the pund keeper and lived on 16 acres on the Geelong Road behind Gillets. He married Annie Meredith Nicholls." Signed "Claire R. Flowers".shearers, shearing sheds, woolsheds, rural activity, george brown

An illustration hand drawn in black ink on paper showing intubation of the larynx on a reclining head and neck, which is drawn as a cross section showing the inside of the head and the airways. The beak of the Chevalier Jackson's laryngoscope is inside the mouth and engaged with the epiglottis, which is lifted forwards so the glottis is exposed.laryngoscope, larynx, chevalier jackson's laryngoscope, epiglottis

This crate of bottles may have come from a wholesaler, business, stationer or school. The design of the bottles is sometimes called a ‘cottage’ or ‘boat’ shape. Each of the 70 Caldwell’s handmade glass ink bottles was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This large collection of similar ink bottles is of particular significance as the bottles have come from the same source, most have their original corks and some retain their original labels, which is rare. The method of manufacture of these bottles is also representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottles and their contents are of state significance for being produced by an early Melbourne industry and exported overseas. This case of ink bottles is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottles in a wooden crate; 70 rectangular, hand-blown clear glass ink bottles. They have side seams, uneven thickness, especially at the bases, and rough, burst-off mouths. The shoulders on the long sides have horizontal grooves used for pen rests. The bottles vary; some have labels, some contain remnants of blue-black ink, and many have their original corks. The glass has bubbles and imperfections. The remnants of printed labels are on white paper with a swirly border and black text. The bottles contained Caldwell’s blend of blue black ‘Flo-Eesi’ ink.Printed on label; “CALDWELL FLO-EESI BLUE BLACK INK” “ - - - - “ Printed script signature “F.R. Caldwell”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture

B/W Main Street looking West. Taken from Bull and Mouth Hotel verandah. Vehicles angle parked in street. Town Hall clock tower Coles. George Mitchell & Sons and Norman A Harding on right. 1950'sstawell businesses streetscape

B/W Main Street looking West. Taken from in front of Dane Bros Spirits Bull and Mouth Hotel verandah. Vehicles angle parked in street. Town Hall clock tower Post Office visible. 1940'sstawell businesses

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance 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 shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections. Mouth is sealed, and has remnants of tape on outside. Tooled cork-top finish with ring below. Slightly bulged neck. Shoulder has some diagonal creases and a distinct line where shoulder meets body. Body tapers inwards to base. It has a bubble and diagonal crease lines. Base is uneven. Pushed up base has pontil mark. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle

Carving of a small female head made by a patient of Mayday Hills Asylum. The sculpture as been roughly hewn from a tree limb with multiple branches.Mayday Hills Asylum was one of the three largest psychiatric hospitals in Victoria, and played an important role in the treatment of mental health illnesses from its establishment in 1867 to its closure in 1995. As part of prescribed treatment, many patients participated in craft activities were they were able to create an array of objects. A limb of a tree roughly carved into the shape of a face, featuring a wide nose, protruding eyes, and flat mouth. On a limb section that extends above the head is a carving of a small totem-like face. Two small limb sections protruding from the back. Pen lines and figures on nose and ears.beechworth, burke museum, mayday hills asylum, sculpture, wood carving

This doll was reportedly won in a raffle in 1917, possibly in Orbost, Victoria.A female doll with its upper body including the arms made from porcelain and its lower body of fabric. It has genuine hair and also possibly eyelashes and its glass eyes are blue. It has painted eyebrows and mouth. The christening robe which it is wearing is not its original costume.doll child's-doll porcelain-and-cloth-doll