Firedogs is the common name for andirons and Chenets and have been in use since ancient Greek times. Firedogs are the decorative metal supports or stands that hold logs in a fireplace, allowing air to circulate around the fire to keep it burning, and preventing logs from rolling out of the fireplace. They are usually made of metal, cast iron or steel, but are sometimes ceramic. They have two feet joined across the front and one at the back. Some firedogs, mainly for kitchen use, were plain with forked uprights so that a bar could rest between them on which a cooking pot or a roasting spit could hang. Some firedogs are made in the likeness of animals, shields, crosses, figures and keys. This pair of firedogs are representative of the firedogs that were common to domestic use in previous centuries when home heating and cooking were only possible with open fires. Firedogs or andirons, pair of two decorative cast iron log supports for use in a fireplace hearth. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fire dogs, firedogs, fire grates, log stands, domestic furniture, open fireplace equipment, andirons, chenets, domestic heating

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

160 p. : ill. (some col. ) ; 29 cm.non-fictionarchitecture -- domestic -- australia -- conservation and restoration, interior decoration -- australia

Collection of 34 photographs in a photograph album. Most stamped 20 Aug 1985 on reverse, Quad construction 1981.(1) Administration Building front entrance. (2) Administration Building front view. (3) Administration Building front centre. (4) Administration Building, back entrance, Hall end. (5) Administration Building, back centre. (6, 7) Student Amenities Building. (8) Quad 5. (9, 10) Library, front completed 1982. (10A) Library, back. (11) Nursery. (12) Nursery (13,14) Quads 2,3,4. (15) Quad 6 back. (16) Engineering (17) Library front from the Bull Paddock. (18) Dairy. (19) Principal's Garage, now Herb Garden. (20) Soil Bins old Nursery. (21) Old Nursery. (22) Greenhouse old Nursery. (23-25) Landscape Shed. (26) Orchard Shed. (27) Orchard Shed and Kiwi Fruit vine. (28,29) Plant Science Laboratory. (30) Energy Efficient Glasshouse old Nursery. (31) Glasshouse old Nursery and Potting Shed. (32) Energy Efficient Greenhouse old Nursery. (33) Potting Shed old Nursery.quad construction, administration building, student amenities, library, nursery, bull paddock, dairy, principal's garage, herb garden, soil bins, greenhouse, landscape shed, orchard shed, kiwi fruit vine, plant science laboratory, energy efficient glasshouse, potting shed

This booklet from 1879 was given to the Moorabbin Historical Society when the Robert Keys Leader Cup Trophy, 1882-1883 was re-discovered at 'Box Cottage' Museum in 2009. The Leader Cup Trophy, MAV 00001, is also itemised in this booklet (p9) The Leader Newspaper offered the 'Silver Cup, value Five Guineas for the best fruit garden in the Brighton District. The Proprietors of the English, Scottish and Australian Chartered Bank offered an second prize of three Guineas Commencing in 1856, the Brighton Horticultural Society only disbanded in 2009, and most of their archival holdings were given to the Brighton Historical Society. This booklet gives a good idea of the large varieties of plants, poultry and the skills of the pioneer settlers of the Brighton District.This Booklet describes the Schedule of Prizes for the 1879 Grand Annual Exhibition of the Brighton Horticultural Society in Brighton Victoria. The Booklet was donated to the Moorabbin Historical Society in 2009 upon the disbanding of the Brighton Horticultural Society..at that time. The Moorabbin Historical Society possesses the 1882 'Leader Cup Trophy' (cat 00001) presented to Robert Keys for the best Fruit Garden. This booklet is kept in the same cabinet as the Robert Key's Silver Trophy. After Henry Dendy's Special Survey in 1841 allotments of land were sold or rented to pioneer settlers who developed market gardens , fruit gardens and poultry farms in the Brighton area. Their produce was sold at the St Kilda and Melbourne Markets for the growing population of MelbourneBooklet with mauve paper cover and 16 pages listing the Schedule of prizes for the 1879 annual exhibition of the Brighton Horticultural Society to be held in Brighton, Victoria."1879/ SCHEDULE OF PRIZES/OFFERED FOR COMPETITION BY THE/ BRIGHTON HORTICULTURAL SOCIETY,/ AT THEIR/ GRAND ANNUAL EXHIBITION/ OF / ROSES,/ CUT FLOWERS, POT PLANTS,/ FRUITS, VEGETABLES,/ POULTRY, PRODUCE, &c.,/TO BE HELD IN THE/ ARTILLERY PARADE GROUND, CRESCENT, / BRIGHTON,/ Near the North Brighton Railway Station, / ON / SATURDAY, 8th NOVEMBER, 1879./ ADMISSION 1s. / Doors open at 2 o'clock. / Brighton: / G. H. ORFORD, MACHINE PRINTER, NEXT NORTH BRIGHTON STATION. / 1879 ;melbourne, keys robert, trophy, leader newspaper, leader cup, brighton, silver, moorabbin, bentleigh, markets, dendy henry, st kilda, bent thomas, market gardens, brighton horticultural society, fruit gardens, banks chartered

This particular lamp was made for the dinner table or "parlour". This was the most effective indoor lighting before electrical lighting was introduced in the 1940's. These table lights would have still been used after this time as emergency lighting during electrical power shortages (outages). These emergency lighting lamps, including candles, were eventually replaced by battery power. The Kiewa Valley was supplied by electricity well before many other rural regions due to the State Electricity Commission constructing the Kiewa Hydro Electricity power turbines (late 1930's to mid 1950's). Petrol and diesel generators were used in other rural regions before state wide electricity was available.The significance of this kerosene lamp to the Kiewa Valley is that it provides the proof that before the Hydro electricity scheme was established in the valley, householder and commerce relied on candle/kerosene power. Although at certain times before battery and solar energy became the night time lighters the sole source of lighting was candle power and kerosene power. The supply of both however was still required by most of the population by supply from city and larger country town suppliers. This nearly fully glass made table lamp(kerosene) has a large glass bowl/basin like kerosene storage unit with a glass circular finger handle (similar to a ordinary cup). Formed single star like patterns (50mm apart) encircle the centre of the bowl. On top of the bowl sits the metal (brass) wick holder with a small wheel protruding out one side for adjusting the wick length(increasing or decreasing the strength(regulating) of the amount of light projected. Four prongs rise from the circular base light fixture holding the windproof and refractive glass "pot belly" shield. lamp table, kerosene lamp, household lighting (non electrical)

Railways Collection--Bulletin 727 article May 1998 - A Job For Life - by Graham Thomas. 13 x A4 loose pages photocopied from 'The Bulletin' - In this article Jack Thomas records his memories of Bendigo North Workshops during 31 years he was employed there as a boilermaker's assistant and the events that led him to seek permanent employment with the Victorian Railways in 1946. Black and white photos include The South Nell Gwynne mine, various photos of the workshops, the original D3 658, D3 619, K171, J Class and R727 steam locomotives, There is a photo of a Coffee Pot crane Locomotive.Graham Thomas.magazine

Photocopy of an article from the Melbourne Age, 19 Feb. 2003, titled "Taking history for a ride" publicity for the 'Trammies' exhibition to opening the following day. Features a photograph by Penny Stephens of Kathleen Anseline, Fortunato Grosso, Roberto D'Andrea, Hugh Waldron and Sovann Sok inside a W class tram. Article written by Carolyn Webb, noting the exhibition, how it illustrates Melbourne's ethnic melting pot through its trammies. Supplementary File contains papers concerning the exhibition and BTM involvement. See also Reg Item 2454 2455, 2457 for other parts of the exhibition. trams, tramways, trammies, exhibitions, immigration museum, connies

Frederick Steele Ferguson (1861-1938) married Beatrice O'Brien in 1898. Originally they lived at 19 Brodie Street, Quarry Hill, but by 1925 they were registered as living on the corner of Rodney and Reginald Street with their son Frederick Steele McNair Ferguson and his wife Amelia, and later with their daughter Maude. It appears the family continued to live at this address following Frederick snrs death. Frederick and his son Frederick jnr were wool merchants.Black and white photograph mounted on rectangular brown board. House, weatherboard and rough cast, verandah with brick balustrade and rough cast pillars, corrugated iron roof, 1 chimney with 2 pots, double front door, small bay window at RH side, bay window under verandah, sleepout/sunroom attached at back right, established garden, concrete path, hedge at front, woven crinkled wire fence. On back of photo' F. Ferguson, £1800 corner Rodney and Reginald Streets, 15.4.30 corner Rodney and Reginald Streets. 2012 photo of house attached to record.Frank A. Jeffree Bendigobendigo, business, t c watts & son

Thomas Stoddart (1828 - 1905) bought 12 white marble statues during a visit to Italy. Stoddart arranged for them to be shipped to Victoria and placed on pedestals of Sicilian marble and on bases of Victorian granite. These statues were unveiled in the gardens on Queen Victoria's birthday, 24th May, 1884. His intention was for the statues to adorn and add interest to the gardens. Roman goddess of flowers is watering flowers at her feet and is dressed in a classical garment. Flora is considered by many to be the masterpiece of the twelve because of the fi ne detail which creates such a pretty picture in stone. This portrayal of the Roman goddess of flowers shows her watering a pot of luscious blooms with a basket of flowers on her arm. Her position is a highly visible one between the Statuary Pavilion and the fernery pond.The artwork is of historic and aesthetic significance to the people of BallaratWhite marble figure of a woman who is watering flowers at her feet and is dressed in a classical garmentFloraflora, stoddard

Basket weaving and brush making was a source of income for those who worked in the workshops at RVIB and other institutions in New South Wales and Queensland. A diverse range products could be produced with cane, such as cane chairs, cots, washing baskets and trolleys, and the Institution sought to highlight these in the annual report. Over time the demand for, and supply of, cane changed - particularly during World War 2 when Asian sources were under attack or destroyed. At home, other materials such as plastics as well as the ability to import cheaper pre-produced products further reduced the demand for workshop pieces. Generic style basket could have been used as a rubbish bin or pot plant holder. It has a wide opening, with a combination of two weaves for decoration. The base is a piece of chipboard for strength, and has a decorative covering.1 cane basket with chipboard baseemployment

Object, A Souvenir of ''The Glamour Girls'' Revue ''Then and Now'' 1944, To Ted from Mr. & Mrs. C.Clark on the front cover which is and including the rear cover , of Red and Black tied with an Orange ribbon.There are 17 pages inside . First page Includes; Bendigo presents The Glamour Girls in Their Hit Revue Then and Now a Pot pouri of Dances and Fun Produced and Created by the Team Spirit of: Peggy Hinsley, Elaine O'Shea, Joan Albert, Gladys Jordan, Amba Harrington, Moira Knowles, Doris Clow, Betty Angel, Cath McQueenie, Thelma Cochrane, Mona Roberts. Under direction of C.Clark. Included are photos of The Glamour Girls.program, theatre, concert

Take a stroll through the average beverage aisle in your supermarket, and you might get the impression that tea has always come in small boxes with disposable tea bags. But before those easy to come by boxes, there was the rich and intriguing history of the tea strainer, a beautiful little tool that has helped our ancestors enjoy loose leaf tea for hundreds of years. Enjoying loose-leaf tea, and becoming familiar with this tool, can help spark an appreciation for your tea strainer and infuser collection, or simply inspire you to grow one. Documentation of tea tools such as the tea strainer appear in ancient history, the earliest models were likely made of bamboo, and later evolved into stainless steel, sterling silver, china, porcelain, silicon, and linen. During the Tang Dynasty in China, a small book called “Classic of Tea” was written describing tea utensils, and they were made to help Buddhist monks keep living things (such as small bugs) out of the drinking water. However, using a tea tool to keep run away tea leaves out of a cup did not become a cited use of the strainer until the 17th century when Dutch merchants made tea more readily available to those outside of the Chinese dynasty. British royals then increased the popularity of tea as their preferred beverage, and it was not long before a newfound fanaticism for tea in Great Britain spread to the American colonies, as did a growing demand for products that could separate loose tea leaves from liquid with ease and flair. Why did people use a strainer to separate out tea leaves in Great Britain and not in China? While the method of serving tea from a teapot with the tea loose in the pot was a practice used in both countries, the reason China may not have required a tool to remove leaves from their cup likely had to do with the types of tea leaves they were producing. The British owned tea plantations, in countries such as India, produced finer black tea leaves that did not require as much space to expand inside of a tea pot, where as the leaves prepared on the Chinese plantations would expand far more in the pot, and were therefore less likely to land or be bothersome inside a tea cup. This common approach to serving tea with smaller tea leaves required a solution to avoid ending up with a cup, and mouth, full of tea leaves. The obvious solution was a strainer basket. In the Victorian era, tea strainer baskets, similar to those still used in tea parlors today, were made to sit on top of the cup to capture the leaves when pouring the tea from a tea pot into the individual cups. Another solution was a tea-removing device called a mote spoon. Mote spoons act as search and rescue spoons to remove tea leaves from individual teacups. The tea would be brewed loose in the teapot, so any tea that ended up in the cup could be removed with a long handled spoon with holes in the spoon to remove rogue tea leaves and keep the steeped water in the cup. The handle also helped keep the teapot spout free of leaves and could help unclog any leaves trapped when pouring. Stainless steel tea strainers and tea infusers gained popularity in the late 19th century. Big name tea strainer producers, such as Tiffany and Gorham, could use fine silver to create quality, heavy, and sturdy strainers, for those who could afford it. There were many varieties of strainers at that time, but it was more likely that smaller designers who could not afford to mass-produce these quality strainers out of silver made them into unique shapes to attract consumers with lighter wallets. And borne was the tea strainer we are accustomed to today. Things took an unexpected turn for the tea strainer in the early 1900s when Thomas Sullivan, a tea merchant, shipped out tea samples in small silk bags. Customers did not realize that they were supposed to remove the tea from the bags, and instead boiled the tea, bag and all! The convenience of tossing out the leaves is obvious, and the popularity of tea bags is still seen today. Most premium bags of tea we are accustomed to today are frequently packaged loose for consumption, and when they are available in bags, the leaves are often crowded and do not have enough space to expand. While pyramid tea bags have become a more recent solution to this problem, due to the additional space at the top of the bag, enjoying a variety of quality tea is easier with a tea strainer in your arsenal. Besides, with the wide variety of strainers for your cup or pot in versatile materials such as mesh, silver, or a novelty silicone cartoon shape, loose tea can still reign supreme. Tea strainers sometimes do require more cleanup and measuring, but the experience and quality is always worth the effort. Besides, strainers also allow for mixing favorite tea blends together for an extra dose of delicious creativity! https://www.teamuse.com/article_170413.html The strainer provided the convenience of separating the tea leaves for disposal later.Metal strainer, bowl shaped, with mesh and twisted wire handle.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, strainer

Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time appears to be an early example of British ironstone earthenware that could possibly be a Staffordshire piece but cannot be associated with an historical event, person or manufacturer, provenance is therefore unknown, as a result the subject item assessed as a collection asset given it was produced before 1950.Cheese dome round white ironstone, with flat base and a bell lid with ornate handle white Decorative relief floral design date letter "A" impressed in baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, ceramic dish, dish, kitchen ware, covered dish, ironstone cheese dome

Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.A mid to late 19th century ironstone jug with no makers markings only a date letter therefore at this time cannot be associated with an historical event, person or place, provenance regards maker is unknown, item assessed as a collection asset given it was produced before 1950.Jug, white Earthenware with leaf decoration around the base, handle and lip.Letter "E" date mark for 1881flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, ceramic jug, drink ware, kitchen ware, table ware, ceramic, pottery, milk jug, cream jug, ironstone jug

In 1898 a recommendation for a railway of 2 ft 6 in gauge was handed down by the Parliamentary Standing Committee on Railways, to cost $138,000. Construction began in 1900. About 100 men were engaged in laying and ballasting the track while others, not included in the 100, formed the earthworks, culverts and bridges. Locomotive operations initially were two 2-6-2 Tank engines of the narrow gauge A class, dubbed "Coffee Pots", and these were used on the work trains between 1900 and 1902. Because of the lengthy periods of waiting time required to unload sleepers and rails or to load ballast meant that a handy replenishment of coal and water supply was necessary. With earthworks specified to the bare minimum landslips in the narrow cuttings were frequent so a repairer was stationed in each length to deal quickly with minor slips until 1904 when the cuttings were widened.B/W. The driver and seven other men on locomotive 5A and its flat cars at Beech Forest during construction of the line in c.1902. beech forest; railways; loco 5a;

The company R. Fowler Limited was established in Sydney, in 1837 when Enoch Fowler (1807-1879) came to Australia from Ireland and is known today as the oldest pottery still in operation in Australia. They were mostly known for producing bottles, jars, and pipes. The pottery was originally located at Abercrombie Place on Parramatta Street, Chippendale, NSW before they relocated to Glebe in 1847. Later the pottery manufactured building materials such as tiles, pipes, and chimney pots. As the business grew, they moved to Parramatta in the 1850s. Enoch's son Robert (1839-1906) had joined the company, and took over its management in 1873, changing the name to “R Fowler Sydney” in 1880. Robert opened further sites at Marrickville and Bankstown, with the company becoming R. Fowler Limited in 1919. The factory at Thomastown, Melbourne was opened in 1927 from which time the trademark on this bowl was used. An item made by an Australian company during the first half of the 20th century. The item is significant as it gives a snapshot of the early development of manufacturing companies in Australia. It is typical of kitchenware used throughout Australia during the early 20th centuryA small Fowler Ware mixing bowl produced by R. Fowler Ltd. Thomastown, Victoria with Maker's mark clearly imprinted underneath the bowl.Set in circle underneath the bowl "R. FOWLER LTD./ THOMASTOWN/VIC"kitchenware, r. fowler ltd, pottery australia

Black and white photograph of Bennett's Arcade. Clock face up high at rear with policeman's face on dial., Taubmans paint sign under. Baskets, garbage bins, lawn mowers, enammelled cast iron pots. Various other hardware. Adult male in sports coats, jumper, shirt and tie holding hand of small girl in dark coat with beret, lace up shoes. Female in background with hat, overcoat. Female figure in foreground dressed in long coat with flower on collar, scarf, hat. Small boy in double breasted coat, cap and lace-up shoes. Patterned, tiled floor. C. Bennetts Arcade in ink on rear of photo.A. Doneyplace, arcade, bendigo

The donors advised that it was purchased in England in 1934 by one of the parents (not advised) and then brought out to Australia when the immigrated. It was used by them in the eastern suburbs when the did not have electricity or gas. They later moved to the Dandenongs and again had to use it for cooking.Unit consists of a base with three large adjustable kerosene burners under a grid on which pots and pans were placed. At the right hand end is a round metal enclosure in which is enclosed a large glass bottle with a special top. Bottle is filled with kerosene (Royal Daylight Oil) and inverted. Kerosene then flows from container to burners. Flow is controlled by the adjustable needle jet for each burner.|OVEN is separate and has open frame of holes at bottom. It is placed over one of the burners. Heat of the oven is therefore controlled by adjusting the heat of the burner underneath.|There is a spare burner, trays etc and some spare parts in the oven. There are four parts to the stove.Oven - Valor No 112|Base - Valor No 603|Patent No 333107|Reg Design No 777773 - 1932|Patent No 405758 - 1934domestic items, cooking

Copy of the front page of the Australasian Sketcher No. 58 - Vol. V, dated Saturday, September 1, 1877. The top third of the page has the name and decorative artwork. The bottom two thirds has two sketch drawings of fancy ball characters. On the left are two ladies, dressed in long dresses and hats and a man dressed in very early dress and a hat. The right hand side shows a man with very long hair sitting on a box with old time clothing with long leggings, bows on his shoes and a wide brimmed hat. He also has a sword and broad carry strap. On the right of the picture is a camera. There is also a vase and a pot plant in the picture.By Courtesy Ern Williams, Bendigo. Argusnewspaper, argus, news items, peter ellis collection, australasian sketcher melbourne saturday september 1- 1877, ern williams. the australasian sketcher with pen and pencil was a monthly magazine published in melbourne by the argus between 1873 and 1889. the sketcher appeared once a month, starting april 1873. the proprietors were named as edward wilson, lachlan mackinnon and others.

Pens, nib pens and later fountain pens, with suitable inks, were commonly used for writing communications from the 18th century to the mod 20th century. Fountain pens continue to be used and enjoyed. Dip pens with a wide variety of nibs are used for calligraphy writing, a hobby enjoyed by many people. The quality of the pen handle, the nib and the ink all work together to produce fine handwriting that expresses the character and mood of the writer. This Bakelite ink case has been specifically moulded to snugly contain an ink bottle, with just enough room to wrap the bottle with a padding or card or blotting paper. The screw top lid fits the case well and this container would be a good way to travel with ink because any spillage would be kept within the waterproof case. The Bakelite material is lightweight and strong. Ink bottle cases, or travelling cases, have been made as an accessory for nib pen writers. The first patent for a “pocket-case for bottles”, a wooden case, was applied for in the US in 1891. Other materials such as steel, pewter and aluminum as well as Bakelite have also been used. The British Museum has an elaborately decorated bronze ink pot holder that is inlaid with turquoise. Today ink bottle cases are even available in fabric with loops to attach to a belt. Bakelite, the material used for this ink bottle case, is made from synthetic materials and is an early form of plastic, developed in 1907 and used extensively until the 1940’s. It is still in used today for specific applications but has been largely replaced by more modern forms of plastics. This ink bottle case carries the imprint of Mabie, Todd & Co. (Aust.) Pty. Ltd. This form of company name was used from 1938 to the mid 1950’s. The Swan ink bottle’s information says it was made by Mabie, Todd & Co. Ltd., London and Sydney, so dates the ink bottle from about 1908 until 1934. (Australian newspapers display advertisements dated 1908 until 1934 for Sydney wholesalers and agents for Mabie, Todd & Co. Ltd.) ABOUT PERSONAL FOUNTAIN PENS (FOUNT PENS) A 1917 newspaper advertisement recommends that the owner of a “Swan” doesn’t lend it to anyone else to use due to its qualities of it personalised to the owner. It reads “Don’t lend your “Swan” fountpen, recommend it, but don’t let other people use it. You see, a good pen doesn’t wear, but its “tamper” (or spring) works into the writer’s pressure and manner of holding. Another person with a dashing style of writing may strain it do that it will no longer feel just like your own.” This personalisation of nib pens may be the reason that legal documents in the past being acceptable only if they were signed using a ‘wet ink’ pen. Forgeries of signatures could be easily detected as the nib takes on the character of the pen’s owner. A ballpoint pen was not acceptable. This is a strong contrast to modern times when a digital signature is widely accepted. ABOUT MABIE TODD Pty Ltd. The American company Mabie Todd began by making pencil cases in New York in the 1860’s. The Bard Brothers, makers of Gold nibs, joined Mabie Todd and the company was established in the 1870’s as Mabie Todd and Bard. In 1878 the company filed a patent for the design of a fountain pen and in 1884 the first Swan fountain pen was released. In 1884 a Mabie Todd and Bard office and showroom was established in London. In 1906 the company’s name changed to Mabie Todd & Co, New York. The UK offices also used this new name and in 1907 the UK began producing their own Swan pens. Manufacturing was going so well in England that New York sold their rights to European and Colonial business to the new Mabie Todd & Company Ltd of England. By the end of the 1930’s all components for the pens were being made in the UK; the pens in the London factory, the gold nibs in Birmingham and the ink in Liverpool. Newspaper articles from 1934 stated that Mabie Todd were large buyers of Tasmanian iridium, which had been welded with gold and used since 1834 for the tips of nib and fountain pens. Fountain pen points were the largest market buyers for Tasmanian iridium, which was classed as “the best in the world”. Production growth continued up until WWII times, when the headquarters and main factory were destroyed. Mabie Todd & Company Ltd of England rebuilt out of the inner city and by 1946 pen production began again. The market for nib and fountain pens was diminishing by this time, with people beginning to use the new ballpoint ‘Biro’ pens. The Mabie Todd bought shares in Biro Pens and in 1952 became Biro Swan. They went on to make more ballpoint pens than any other manufacturer in Britain. The ink refills that Biro-Swan produced came in five different viscosity or thickness xhoices, depending on the season and location of where the pen would be used . Along with the ballpoint pens, Biro-Swan also introduced a range of Calligraph pens to attract those following the new trend for italic writing. In 1948 Mr. T. Burke, a director for Mabie Todd & Co. (Aust.) Pty Ltd., announced that there would be a £40,000 factory built in Sydney in 1949 for the manufacture of ink. The plant for the factory would be imported from overseas. Sadly the company struggled against competition and in 1956 Mabie Todd closed business and no more Swan pens were produced. The ink bottle and container was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The ink bottle case is significant for its association with writing methods commonly used during the colonisation of Australia until the mid-20th century. The protective Bakelite case demonstrates the value placed on caring for the user’s supply of ink and protecting other belongings of the user, enabling writers to easily carry and safely transport their ink without the concern of spilling it. The case’s design is a good example of the use of new technology. The properties of Bakelite have enabled its moulded design and make it waterproof and lightweight, easily cleaned, closely fitted to the shape of the ink bottle within and lid and base join together using a smooth screwing action. The maker’s marks have also been moulded into the Bakelite, therefore not distracting from the simple but elegant design. This ink bottle case also represents the period of early to mid-20th century when handwriting materials for writers using ink and nib pens were imported into Australia and developed for the Australian market and sold by wholesalers on behalf of overseas companies. Vintage brown Bakelite travelling ink bottle case (or holder, pot, well) containing glass ink bottle and original textured cardboard liner, made by Swan Ink, Mabie, Todd & Co. (Aust) Pty.. Ltd. The Bakelite container is shaped to fit snugly around the ink bottle. It still retains its original shiny finish, the lid screws on and off perfectly. The maker’s name is embossed on lid and base of the Bakelite container. The inkwell contains a glass Ink bottle with a tiny amount of dried up ink Swan triple filtered ink inside. The bottle is cylindrical with curved shoulders tapering to a neck of around 2cm. The white metal screw-on lid and the white and red paper label on the side of the bottle both have a printed description of the ink and maker. Circa 1934-1950’sBAKELITE INK CASE - embossed on either side of the lid “ “SWAN” INK / ”SWAN” INK “ - embossed into base, written in a circle “MABIE TODD & Co (Aust.) PTY. LTD.” GLASS BOTTLE – printed on lid “SWAN”/ [corporate logo combining letters ‘M, T, co’]/TRIPLE FILTERED/ INK.” - printed on label “SWAN” INK /FOR FOUNTAIN & / STEEL PENS / A BLUE BLACK INK OF/ THE FINEST QUALITY/ MADE IN ENGLAND/ MABIE. TODD & CO LTD …….. LONDON. SYDNEY/ Makers of “SWAN” Pens, Gold Pens & Ink“ - moulded into the base of the ink bottle and written around the bottom outside edge of the bottle are the words “THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF/ MABIE TODD/AUST”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ink bottle holder, ink bottle case, ink bottle pot, travelling inkwell, portable inkwell, travelling ink pot, travelling ink bottle case, ink bottle, inkwell, ink well, swan ink, bakelite, dip pen ink, nib pen ink, fountain pen, fontpen, writing methods, stationery, mabie todd & co, swan fountain pens, biro-swan

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

Undated cardboard hand-made sign listing the variety of products made by RVIB workers available for purchase at the show. Given the taped over word before 'show' this sign was most likely utilised across a number of shows (Melbourne and regional).Digital image of sign displayed for RVIB EnterprisesRVIB Enterprises Quality Products Made By Workers of the Royal Victorian Institute for the Blind Industrial Division. Show Special Prices On. Baby Gates Tissue Box Covers Door Stops Pot Plant Stands Folding Tables Ludo Mops Chopping Boards Hat Boxes Bread Boards Dominoes Solitaire Toy Boxes Jarrah Outdoor Settings Tapestry Frames Hookey Boards Treated Pine Out Door Settings Chinese Checkers Wall & Mantle Clocks Building Blocks Tapestry Frame Standsroyal victorian institute for the blind, signs

Common soap was made from mixing animal fat with potash a form of the potassium based alkali present in plant and wood material. Early settlers, made their own soap from the waste fats and ashes they saved from their daily work. They did not then have to rely on waiting for soap to be shipped from England and waste their goods or money in trade for soap. In making soap the first ingredient required was a liquid solution of potash commonly called lye. Animal fat, when removed from the animals during butchering, must be rendered to remove all meat tissues and cooking residue before soap of any satisfactory quality can be made from it. To render, fats and waste cooking grease were placed in a large kettle with an equal amount of water. Then the kettle was placed over the open fire outdoors, because the smell from rendering the fats was too strong to wish in anyone's house. The mixture of fats and water were boiled until all the fats had melted. After a longer period of boiling to insure completion of melting the fats, the fire was stopped and into the kettle was placed another amount of water about equal to the first amount of water. The solution was allowed to cool down and left over night. By the next day the fats had solidified and floated to the top forming a layer of clean fat. All the impurities being not as light as the fat remained in water underneath the fat. In another large kettle or pot the fat was placed with an amount of lye solution ( known by experience ). This mixture was boiled until the soap was formed - 6-8 hours - a thick frothy mass, and a small amount placed on the tongue caused no noticeable "bite". The next day a brown jelly like slippery substance was in the kettle and this was 'soft soap' . To make hard soap, common salt was thrown in at the end of the boiling and a hard cake of soap formed in a layer at the top of the pot. But as salt was expensive most settlers used 'soft soap',. The soap could be scented with oils such as lavender for personal use. These 3 cakes of home-made soap are examples of the self sufficiency of the early settlers as they had to be self reliant ,growing food and making and mending their own farm equipment, tools and clothes while establishing their market gardens in Moorabbin Shire3 cakes of home-made, white hard household soap. 1 cake of soap eaten by a brush tailed possum when he entered the Cottage via the chimney 27/4/2014soap making, market gardeners, pioneers, early settlers, moorabbin, brighton, dendy's special survey 1841. kitchen equipment, laundry equipment, bentleigh

This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.A mass produced utilitarian item made for domestic use, no history or manufacturing provenance currently available. At this time the item cannot be associated with an historical event, person or place, provenance is unknown.Serving dish white ironstone raised pattern of bows around the top.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance regards manufacturer is unknown, item assessed as a collection asset as it is believed to have been produced well before 1950.Container for toiletries. Lid and base. Cream porcelain with red floral decoration. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object

This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Ceramic rectangular box body has with fine brown line floral design with protruding wedge ends. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, decorative object, ceramic, ceramic box

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. Launched at the Melbourne Zoo on 11 February 2003, ambassador Sigrid Thornton read 'The Story about Ping' by Margery Flack and Kurt Wiese to a group of five children, who played with the other objects in the suitcase as well as those for 'The Tiger who Came to Tea' by Judith Kerr. These included a soft toy duck in bright plaid fabric, a shiny metal tea pot, a cassette recording of the story, tactile books for both stories, and metal cups.37 digital photographs of Sigrid Thornton and five children at launch of Feelix libraryroyal victorian institute for the blind, feelix, sigrid thornton