A mass produced unbranded utilitarian item made for domestic use no history or provenance currently available, design indicates item made before 1950Item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as made prior to 1950.Stoneware mixing bowl round cream with pouring lip and decorative scallop relief around bodyNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, bowl, ceramic bowl, pouring bowl, kitchen ware, cooking ware, ironstone bowl, salt glazed, mixing bowl

Cast Aluminium lemon squeezer with holes in bowl to allow juice to run through. Length 8 "flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

According to Lloyd's Shipping Register 1837-1839, the CHILDREN was built in 1825 at Liverpool and operated by owners Gordon & Co, of London. London registered number 123/1837. James Henty then bought her in 1837 as a three-masted barque of 254 tons, with a hull of “part pitch pine, felt sheathed” and “coppered 1837”. Launceston registered number 6/1837. In 1838 the CHILDREN, under her master Captain H. Browne, completed a successful round trip from Launceston to London (carrying wool and whale oil loaded in Portland), returning in late November of that year (carrying a general cargo including the house bricks). On the 11th January 1839, the CHILDREN sailed from Launceston for Adelaide, with 24 passengers, 14 crew, and an awkward mixed cargo, including 1500 sheep, 8 bullocks, 7 horses, and farming implements, and six whaleboats with associated whaling gear. One account states that when the CHILDREN “put out from port she was light and badly ballasted”. The vessel immediately encountered four days of hurricane force storms, eventually clearing on the early morning of the 14th to “west force 10”, but too late to take accurate measurements of the sun or stars to establish their position relative to the coast. The CHILDREN collided with a limestone stack at the entrance of Childers Cove, and the seas smashed her into pieces within half an hour. All the cargo and 16 lives were lost (including 8 children). The Henty’s contributed £150 towards a fund for the 22 survivors at a memorial service held in Launceston later that year. It was a major financial setback for the Henty’s, but one from which they recovered. In a submission to the Governor of New South Wales dated 24 March 1840, the Henty’s summarised their work over the previous six years of settlement: “Six stations have been occupied, one at Portland Bay…three at the open country about 60 miles inland called ‘Merino Downs’…They have erected two houses at Portland Bay and two others at Merino Downs”. The shipwreck of the CHILDREN is of State significance ― Victorian Heritage Register S116Part of terracotta bowl from the wreck of the Children, 2 segments have been glued together.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, children

Francis John Newberry founded the Victoria Foundry and Enameling Works in 1890 with a workmate from the Humbles iron foundry in Lupton Street Geelong where he worked. Newberry & Walker Foundry & Enameling Works was built adjoining a cottage that was to be the home of the Newberry family during the ensuing years. Although Walker soon relocated to New Zealand, the Newberry and Walker foundry had become a local success. The foundry produced numerous cast iron products such as washing copper frames, and friezes, balustrades and verandah columns. Verandah posts are to be found in declining numbers, but the Newberry and Walker mark can sometimes be seen on the few which remain. A certain number of iron culvert posts were also made; some of them were still in place on the road to Cressy as late as 1961. Perhaps half the iron friezes on Geelong West verandahs came from the local firm’s foundry. A significant item made in Geelong giving a snapshot into the early beginnings of Victoria's industrial manufacturing of products that helped to replace previously imported items from England or America.Copper boiling tub, cast iron frame copper bowl inside of 14 gallon capacity Newberry & Walkerflagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, copper, cast iron, newberry & walker, washing copper frame, laundry, dairy, butchering

Bowl glass diamond pattern in relief covering entire outside, creating jagged top rim.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Dessert spoon 8" long. Crack on spoon bowl. Spoon has been cleaned and treatedflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, dessert spoon, spoon

Black lacquerwork mother of pearl inlay bowl with lid depicting three ladies in traditional costumelidded bowl, lacquerwork

The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Clear glass flower shaped 'depression ware' bowl with photograph of Maroondah Dam Healesville in the base.melbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, glass, bowl

The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Glass bowl with a photograph of the Maroondah Dam in the middle, and text overlay reading "Maroondah Dam, Healesville". melbourne metropolitan board of works, mmbw, maroondah, dam, healesville, melbourne water, scenic view, souvenir, glass bowl

Small ceramic bowl on perspex stand contains soil from the site of the Battle of Long Tansoil, battlefield, long tan

At the crossover between placemaking and public art, this space designed and constructed by Katherine Masiulanis embeds local stories to enliven the local community centre. Masiulanis has designed the public artwork to reflect the lines of crops and ploughed fields and mountains in the surrounding landscape. The artwork also refers to the seasonal travel of Aboriginal people from Wendouree to Burrumbeet and migratory birds making a similar journey. The style of the refurbished courtyard will reflect the 1970s positivity style reflected in the Community Centre architectural design and the history of the first development of the ‘Village’. Cardigan Village is home to about 450 residents on the outskirts of Ballarat. It was established in the 70s, with all the positivity and optimism of the period.Painted walls, metal bird shapes, metal cut out wall shapes, stone bowl

Small brass incense burner with lid. Lid and bowl have decorative holes and an etched decoration.ornaments, metal

White clay pipe with ' Welcome Guest' on one side of bowl and 'Auld Lang Syne' on the otherAs above. '658'personal effects, smoking accessories

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Large wheel thrown terracotta bowl with abstract decoration including text and gold lustre glaze. art, artwork, vesna medavarsky, ceramic, terracotta, wheelthrown, oxides, gold luster, pottery, bowl, large bowl

Simon JAMES (1959- ) Born Nairobi, Kenya Simon James completed a Bachelor of Arts (Ceramic Design) at Monash University in 1982. Light green celadon glaze coffee pot, sugar bowl and 5 cups and 6 saucers.Signed on bottom "Simon James or S.J"ceramics

These breast pumps were also known as breast relievers or breast exhausters. They were a refinement of the much earlier 'sucking glass'. The breast pump was refined during the Victorian age. Glass breast pumps were used to manually express milk for the infant. These pumps were in use from the early 1920s to the late 1960s. They can also be used to stimulate lactation. These pumps were widely used in the 1950s by mothers of premature babies. The milk was expressed by hand in the home, then transported to the hospital to feed the premature infant. Mary Howlett (1840-1922) began practising as a country midwife in 1866 in the western district of Victoria. She qualified as a 'ladies monthly nurse' in 1887 and continued to practise as a nurse and midwife until 1920.She began her six months training at the Melbourne Lying-In Hospital. She was known by many as 'Auntie', and her career spanned more than 50 years. Mrs Howlett's midwifery box and contents were given to Dr Frank Forster, and he donated them to the museum collection in 1993.Glass breast pump. Pump is loosely bell shaped with a glass bowl attached to the side of the bell.infant feeding, midwifery

Purchased by Mr. & Mrs. H. N. Lord in 1970.Purchased by Mr. & Mrs. H. N. Lord in 1970. Cloisonné, a French word meaning "enclosed", is a metal-working technique. It is an ancient technique for decorating metalwork objects. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments or cells to the metal object. This is done by soldering or sticking silver or gold wires or thin strips placed on edge. These are visible in the finished piece, separating the different compartments. Coloured enamel is the usual filling for the cells. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then is fired in a kiln. In older times inlays of cut gemstones were often used. They were decorated with geometric or schematic designs, with thick cloison walls. ICloisonne Chinese bowl. Large brown with blue and yellow floral design on a carved wooden base.bowls

Denis Walter performing on stage at the 2006 Carols by Candlelight, held at the Sidney Myer Music Bowl.1 digital image of man selling candles at concertcarols by candlelight, vision australia, denis walter

The sanctuary lamp was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. The lamp was donated by Miss C. Roberts to St Nicholas Seamen's Church, Williamstown, as a memorial to Edward Roberts, who passed away on August 7th, 1905, as stated on the plaque. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. The lamp is socially significant as a lasting memorial to Edward Roberts. It is also significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The lamp is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this lamp to the Mission to Seamen highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Sanctuary Lamp, brass six-sided lamp supported by three chains to a main disc, with single chain above. Ring on base. Ruby glass bowl on top. Inscribed glass plates on sides. Lamp bowl is lit by electric lamp. Made in England.Marked on plates "In Loving Memory of Edward Roberts who passed away 7 August 1905 Nearer My God To Thee"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seamen’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, sanctuary lamp, electric lamp, church lighting, pendant lamp, edward roberts, memorial plaque, 7-08-1905, c. roberts

The plumbing fitting has been recovered from the sea, as shown by the encrustations on its surface. The source of the fitting is unknown but i is likely to have been part of the fittings of a shipwreck, probably a urinal.The plumbing fitting is an example of a fitting from a ship, late 19th to early 20th century.Plumbing fitting, metal, from an unknown shipwreck. Top of fitting is bowl-shaped with a narrow inlet pipe. Wide pipe attaches to the centre of the bowl and to a threaded fitting at its base. There is a bar across the inside of the threaded fitting and a bolt joined to the bar's centre.flagstaff hill maritime museum and village, shipwreck artefact, great ocean road, flagstaff maritime museum, plumbing, ship's plumbing, urinal

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Memories of AL Bowlly. Volume 3. LP 33RPM vinyl, Catalogue Number: ODLP 7519, Record cover, Plastic sleeve, 1 vinyl disk. Cover notes, no author listed. Al Bowlly. Ray Noble and his New Mayfair Orchestra.lp, sound recording