Phenyle has been used for decades as a cleaner and disinfectant. It is well know for its use for cleaning outdoor toilets and easily identified by its strong odour. The brown glass bottle is immediately recognised as containing a poison. We've all seen them in a hundred different mystery movie scenes. The medicine cabinet opens and there, sitting on a shelf, is the incriminating object -- the ominous dark bottle with the skull and crossbones on the label. In off-screen reality, however, poison bottles have quite a different identity -- they are distinctive, varied, colorful -- and definitely collectible. Obviously, the one thing that sets the poison bottle apart from all other bottles is the need for prominent and immediate identification as a receptacle for toxic material, and this was achieved in a number of ways, including shape, color, embossing and labeling. Poisons were commonly found in the home for the purpose of controlling rodents and other pests, and were sold by grocers and druggists. For consumer protection, as far back as 1829, New York State made mandatory the marking of the bottles with the word "poison" in large letters. Then, in the middle of the 19th century, the American Pharmaceutical Association recommended legislation regarding identification of all poison bottles. In 1872 the American Medical Association also made recommendations -- namely that poison bottles be made of colored glass, and also have a rough surface on one side -- making them identifiable even in the dark -- and the word "poison" visible on the other (the skull and crossbones wasn't quite as ubiquitous as those movies led us to believe). However, passing these laws was not easy, and the manufacturers were essentially left to do as they wished. For collectors, the high point of poison bottle manufacturing was the period ranging roughly from the 1870s to the 1930s. At that time some, of the bottles were distinguished by particularly bright colors, such as cobalt blue (the most common) and emerald green. Others, particularly rare and collectible, had unusual -- and appropriate -- shapes, including skulls, leg bones and coffins. In order to better identify these lethal vessels by feel (not forgetting that there were many people in this period who could not read) when groping for them in the dark, they had such elaborate tactile patterns as quilted diamonds, lattices, hobnails and prominent vertical or horizontal ribbing, as well as spiky knobs and ridges. In addition, many had sharp points on top for the same precautionary purpose. Further efforts to distinguish poison bottles from others included uncommon multisided and triangular shapes, and unusual, hard-to-open tops, the predecessors of the modern child-proof openings. https://www.southcoasttoday.com/story/lifestyle/2001/08/19/poison-bottles-steeped-in-history/50352280007/The recognition and awareness of bottles containing poisonpous substances is extremely important for safety reasons.Bottle, brown glass, diamond shaped. "Bright Star" phenyle. Paper label attached, but peeling off and badly damaged. Corked with contents. Text moulded into glass, some with a border of stars. Poisonous contents, not to be taken. Registered Number 2140. Volume is 20 fluid ounces. Printed label "Bright Star". Text is moulded in the glass in raised lettering: "PHENYLE" outlined and decorated with star border. "POISONOUS", "NOT TO BE TAKEN" "V / DM / A" within oval, "REGD NO. 2140" (D and O are smaller and underlined) . Base is marked "F190".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bright star, phenyl, cleaning and disinfecting chemical, poison, bottles

This Marching Bass Drum is mid-size at 68 cm; these drums can range from 35 to 81 cm (14 to 32 inches). A Marching Bass Drum is slightly smaller than a Concert Base Drum and larger than a Kit or Drum Set Bass Drum. The drum is supported by a shoulder harness with a pin that connects to the eyelet incorporated on the shell of the drum, which keeps the drumheads vertical. The drum is played with one or two felt-covered drum mallets. The six tension rods connected between the drumheads can be screwed tighter or looser to change the tension of the calfskins on the drumheads, which changes their tune. This Marching base drum was made in the early 1920s by the firm Ludwig & Ludwig of Chicago, Illinois, USA. LUDWIG & LUDWIG: - William F. Ludwig was a professional drummer. He and his brother Theobold established the Ludwig & Ludwig drum factory in Chicago in 1909. They became famous for their invention of a bass drum pedal that could play faster beats on the bass drum. Theobald passed away in 1918. By 1923 Ludwig was the biggest drum manufacturer in the world. William continued on when his business was bought by C.O. Conn, but in 1937 he left to begin his own company; the WFL Drum Company. William and his son Bill purchased the Ludwig & Ludwig name back from Conn, and the name William F. Ludwig II continued on. The brand was sold to the Selmer Company and moved to Monroe, North Carolina in 1998, at the time of the 75th anniversary of the Ludwig name. Ludwig drums are still being manufactured over 100 years later. Many famous musicians and bands played the Ludwig bass drum, including Ringo Star who was the drummer in the 1960’s group The Beatles.This marching bass drum is significant for its connection to Ludwig & Ludwig, a famous and popular drum manufacturer established in 1909. The firm was once the largest drum manufacturer in the world. It is known for supplying drummers of fame, such as Ringo Star of The Beatles. This is the only drum in our collection. It is also rare, having only six tension rods, where most have from eight to twelve.Marching Bass Drum; the polished shell around the body is one continuous sheet of timber that has been steamed, shaped into a cylinder and joined together. The drumheads on the sides of the shell are strong timber strips joined into hoops that hold stretched, hand-painted white calfskin. Six Long Tube threaded nickel-plated brass tension rods are evenly spaced around the drumheads between the drumheads. A brass eyelet is fitted into the shell halfway between each drumhead, providing a connection point for the drummer’s shoulder harness. The eyelet has an indecipherable inscription. An oval brass plaque with a central formed hole has a stamped inscription. The imperial size is 27 x 13 inches. The drum was made by Ludwig and Ludwig, Chicago, Illinois, in early 1920's. On brass plaque; “LUDWIG / TRADE MARK / LUDWIG & LUDWIG / CHICAGO”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, shipwreck artefact, marching drum, bass drum, marching bass drum, pitched drum, band drum, drum mallet, marching band, military band, percussion instrument, calfskin, shoulder harness, ludwig & ludwig, wfl drum company, william f. ludwig, chicago, north carolina, the beatles, tension taps, tension rods, drum pedal, long tube tension rods

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

Branding iron with long shank and end shaped into an oval handle. "1/2 Bushel".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, branding iron

These dressing table doilies were made by women of the early settler families in Moorabbin Shire c1900 and show their crochet skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. These tray covers are examples of the crochet skills of the women of the early settler families in Moorabbin Shire c1900 2 x small ecru crocheted dressing table doilies a) oval with flowers and shapes, b) star shaped lacyclothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Shaped, brown wooden picture frame with rectangular picture in the centre and an oval one on each side of it. At each end are carved wooden gumnuts which have been glued on. Some pieces are missing. The left photo is a sepia, waist high portrait of two young women. Both are wearing lacy type dresses with high necklines. One is wearing a locket? and the other a brooch. The centre photo is a young woman sitting at a window. She is wearing a lacy type dress and a bracelet on her right arm and also a ring. There are some flowers in a vase and on her lap. The photo on the right is of an older woman wearing a dark embroidered high neck dress with a white frill collar. She has a brooch at the neckline. Also a waist high portrait.person, family, family, foster & wilson collection, photograph

Cream coloured card with raised border. A green oval at the top with a shaped, rolled edge banner with 'All Good Wishes' printed in gold. Near the bottom is a small green garland. Card & insert held together with green card with a tassel on the ends.person, greeting cards, malone collection, malone collection, greeting cards

Small white card with celluloid fron sewn onto the back. Narrow raised border around the edge. Blue & red flowers in an M shaped pattern. In the cnetre is an oval with 'Thoughts' embossed in gold. Underneath is printed in red & gold: 'Sweet Memory turns her pages old and pleasant. Card & insert held together with pale blue cord.British Manufactureperson, greeting cards, malone collection, malone collection, greeting cards

Clear aqua tinted glass bottle for stopper seal, oval in section, embossed text and border on one side, numeral embossed inside pontil shaped impression in base.On side : 'FELLOWS & Co CHEMISTS St JOHN N.B.'. on base '16'.

Objects. Clothes brush is oval in shape, with a polished wooden base, and black bristles. Shaped to a rounded point at each end. Bristles 2.5 cm long. Nine rows of bristles. Make-up brush bears Chinese writing on the handle, 23.5 cm long with 6.5 cm long white hairs forming the brush. Hairs are held in an ebony cup shape fitting, attached to the handle. An ebony top-knot completed with a red silk ribbon loop finishes the top of the handle.Hair comb: Tortoise shell, with three 7 cm long teeth, which unfortunately are broken from the fan-shaped decorative top. The fan-shaped top of the comb, has an art-deco type flowing floral design-1920's.Chinese lettering - six characters.costume accessories, female, clothes brush, make-up brush, hair comb.

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

Clothing. Pink satin, flat-shaped crown, with a flat pink satin bow across the back. Pleated pink velvet and satin, are alternately swathed around the crown. A slightly raised peak at the centre front, to from the face. LIned with black fabric, with an oval centre, and pleated around the oval, to line the sides.costume accessories, female, pink and velvet hat

Black cotton lace, 50 cms deep, and 115 cms wide. A 2 cm wide band of hexagon shaped lace a 4 cm wide band incorporating a floral design, a 23.5 cm hexagon panel edged with a 21 cm peak edged panel. Oval shapes in edge panel, 12.5 cm deep, have what could be interpreted as a rose in each oval "frame".manchester, trimmings, delicate black lace piece

Deep round neck, front and back. Sleeveless. Armholes edged wit a two cm band of lace, featuring a diamond shaped geometric design. Lace is spoke stitched to the garment, and has a scalloped edge finish. Two bands of the lace edge - one 2.5cm wide, and one three cm wide. Where they are stitched together, a drawstring of stranded cotton enables the neckline to be gathered in. The lace is spoke-stitched to the fabric, and inserts in circular loops (2) and oval inserts (3) decorate the back across the bustling. One circular shape and two oval shapes decorate the back across the shoulders. Fine, machine stitched, french seams at side seams. Right side seam has a nine cm opening in the seam to the hemline, with a metal hook and hand stitched loop to fasten.costume, female, cotton and lace round neck camisole

Object. Cream coloured ceramic jelly mould. U-shaped patterns inside. Oval shape.domestic equipment, food consumption, jelly mould

These tins were used to take up collection of money from the public by the operators of street organs. These wheeled mechanical organs used to be trundled around the streets of the Netherlands stopping at intervals to grind out some tunes.Brought out to Australia by Dutch migrants as a reminder of their heritage. Oval tin, copper with soldered sides and half lid. D-shaped handle at one end.street organ, collection tin, dutch migration

Exported to Australia. Fit male shoe size 8 approximately.Wood shoe shaped but with copper spring to collapse the heel to reduce storage space.Spring has copper handle with 'Cyclops Patent'. On toe area an oval gold and black stamp with manufacturing name and location. Centre picture St. George and Dragon?costume accessories, footwear accessories

Cricket trophy consisting of three pieces of metal mounted on an oval piece of wood. The piece of metal at the top is in the shape of a shield, in the centre is a decorative piece featuring a cricketer poised to bat, at the bottom is a piece shaped like a ribbon banner.On top piece: "Won by Rutherglen C. C. 1929-1930 | STGSIL" At bottom right of centre piece: "STGSIL" On the ribbon at the bottom: "W. Sullivan Shield | STGSIL" On the back is a sticker with: "The Lewbury Trophy Shield" [note: STGSIL = Sterling Silver]lewbury trophy, w sullivan shield, cricket, rutherglen cricket club, sporting trophys, sports

A wooden tennis racquet with oval head, solid throat and rounded handle. Handle has fantail shaped end and is incised with fine grooves. Materials: Wood, Lacquer, Metal, Gut, Gluetennis

A Barker & Son 'The Invincible' tennis racquet with concave wedged throat and bevelled, oval head. Has cloth tape reinforcements around shoulders, and an octagonal handle with 'fishtail' shaped end. Model name imprinted across throat on obverse. Manufacturer's name printed across throat on reverse. Materials: Wood, Lacquer, Metal, Glue, Gut, Cloth tape, Inktennis

A ' Windsor' tennis racquet with bevelled oval head, concave wedge throat and red string whipping around shoulders. Fishtail shaped butt, handle has fine grooves and two large furrows. Model and manufacturer names imprinted and inked across throat on obverse. Strung with twine. Materials: Wood, Lacquer, Metal, Glue, Twine, Ink, String, Guttennis

The Hydro mixer was attached to the kitchen tap which drove the mixing paddles.Mostly made of cast iron covered with green enamel. Its base is a 20 centimetre diameter and two centimetres high and shaped to hold a bowl, there is a protrusion eight centimetres long, four centimetres wide and nine centimetres high. A hinged section is attached to the protrusion of the base, it's a curved oval shape that's four centimetres by three centimetres at its base and tappers to four centimetres by two centimetres at the top, it then widens to an eleven centimetre diameter and three centimetres high shape that is parallel to the base, the centre of it is above the centre of the base. There is a removable eleven centimetre diameter plate screwed to the top. A two centimetre diameter 60 centimetre long plastic hose with a brass fitting on the end that is flared to four centimetres is attached to the side of the circular top. A one centimetre diameter metal tube is attached underneath that has two beaters on the end of it.HYDRO MIXER PAT APP FORfood preparation, hydro mixer

Presented to the 8th/13th Victorian Mounted Rifles Regiment RAAC by its affiliated regiment the 8th Royal Irish Hussars as part of a gift of regimental property when a reorganisation of British cavalry regiments was being undertaken.Silver rose bowl mounted on black shellacked wooden base. Bowl is oval in plan view and boat-shaped in elevation with human figurines as handles. Designation of the bowl as the Subalterns Challenge Cup inscribed on side of bowl while winners are inscribed on wooden base.On side of bowl: "Subalterns Challenge Cup Presented to Lieut.Col. Davidson and the Officers 8th Hussara by major C G Poley on leaving the Regiment May 1893" and on base: "Won at Wetherby 1896 Lt O'Brien br:g "Baccarat" Owner Won at Wetherby 1897 Lt F J C Howard's b.m Moonshine aged Owner 12st 3lb Won at Fethard 1898 Lt E A O'Brien br.g Baccarat Owner 12st 3lb Won at Mullaboden 1899 Lt E M Jennings b.g May Boy Owner 12st 3lb Won at Aldershot 1904 Lt H F Partridge's b.g Loch Lomond aged Owner 12st.3lb"8th hussars, rose bowl, regimental silver, horse racing, subalterns challenge cup

Harry Montague Marks was born at Pall Mall Bendigo on the 1st October 1855. At age 18 he worked for Goldsborough & Co in Melbourne learning land, wool and banking business. He returned to Bendigo aged 22 to open an auctioneers business which operated on the corner of Williamson and Hargraves Streets. Councillor Marks was elected to the seat of Darling in May 1893 and remained serving until 1902. He served as Mayor once only from 1896-97. It was noted in the Bendigo Advertiser on July 3rd 1897 that Mayor Marks appeared in new robes .. made to council order by Messrs Henderson and Goodisson who dealt in highly fashionable goods in the Beehive. (fn https://trove.nla.gov.au/newspaper/page/9088966). It is not know if these robes are still in existence. Harry Marks married Mary Leech in 1881and together they had four sons and one daughter. Harry Marks died in February 1916 aged 60. After his death Mary Marks became the senior partner in the firm HM Marks and Sons auctioneers. Mary died in 1919.Oval black and white silver gelatin print mounted on card. Studio portrait of Mayor Marks. Photograph mounted on card. Front facing seated portrait wearing mayoral robes and chain, clutching a rolled document. Original rectangular shaped photograph has been trimmed to fit into oval frame.Bartlett Bros. lower left on photograph.councillor h m marks, mayor marks, mayoress marks

Used by rider on saddle to get good support and to have more control over horseAs manufactured and sold by Holden and Frost Ca1900Metal body with flat base with oval hollow section. Top has slot to enable strap to fit through. Side frame shaped to fit large footwearequine, stirrup

A wide flat green painted wooden triangular shaped swingletree with a steel bar attached under the wooden section. There are two oval rings joined at each end and there is a wider steel bar in the middle with two chain rings joined to it. It was used to balance the pull of a draught horse or other draught animals when pulling a vehicle.horse accessories, swingletree, horses, horse tack

An example of badges issued by Legacy prior to 1966 for fundraising during the Legacy Appeal and Badge Week. Their donation value was 20 shillings which is £1. The symbol of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Examples of early Legacy badges that were sold up to raise money for Legacy's work. These were before decimal currency was issued in 1966.Legacy Appeal badges x 4 with the Legacy torch and wreath issued prior to 1966, they are gold metal with white enamel, with dark blue enamel around the word Legacy and red enamel in the flame.Kite and hexagonal shaped brooch say '20/- D.N.T.' on reverse. Oval and rectangular brooch say '£1 "Parxite 77" AJ Parkes Brisbane' on reverse.legacy appeal, fundraising, badge week

This large 10 gallon boiler would have been used over an open fire or placed on top of coals to boil clothes clean. They were first made in England during the 1700's and onwards.They were shipped to Australia and other British Empire countries to be purchased by early settlers. A large antique black oval cast iron Boiler Pot with small curved lifting handles for holding it on both sides. There is a large cast moveable carrying iron handle with a bend at the top for hooking onto an 'S' shaped hook or rod to hang over an open fire. This handle is attached on each side to thick iron loops. The Makers name is embossed on one side.Embossed on one side is 'Clarke and Co 10.GS' inside an oval shape (for gallons) There is a diamond shape too of a blacksmith at work. cast iron, cooking, boiling utensils

It appears that items .1 , .4 and .5 are insignia worn by members of the Royal Australian Air Force. It also appears that items .2 and .3 were gifts by members of the force for a friend or loved one. The origin of the two star shaped items is unknown. The Royal Australian Air Force was formed in 1921, being evolved from the Australian Flying Corps., the aviation section of the Australian Army in World War One. These items are examples of military insignia pertaining to the Royal Australian Air Force and are retained for display purposes..1 Propeller khaki cloth badge with red and black embroidered symbol of a propeller .2 An oval badge featuring a gold and red eagle with wings outstretched and a gold and red crown above embedded in a black transparent material. A safety clip is attached by two chains to the badge .3 A metal oval with a bronze stylised propeller attached through two holes in the metal base to a silver coloured safety pin at the back. .4 and .5 Bronze five pointed star shaped three dimensional badge. The centre of the star has a rosette. One has a single brass clip on the reverse. The other has two clips. Otherwise they are identical. Nilmilitary insignia