Ron White owned these jugs during his lifetime. Popular circa 1940s.Ron White owned these jugs. See KVHS 12821. Water Jug - tall glass jug with thin pale green 'plastic?' 'coating' wrapped around it. The cover has painted in colour -flowers and leaves. The lip is wavy with a clear plastic cover pulled over it. The handle is attached to the top half in the shape of an ear.The base is wider than the the top.Handblown. 2. Milk Jug - Unusual shaped small rectangular cream coloured jug with a handle at one end and a pouring lip at the opposite end. It sits on a four legged base and is decorated with coloured flowers and a cottage on each side. 3. Shaving Jug - Solid ceramic cream coloured jug with 7 holes in main area with a handle on one side and a pouring lip on the other. The jug is decorated with 3 small pictures of the countryside. The lip of the jug is defined in blue.1. Nil 2. At the base: "Hampton/ Ivory/ Swinnertons / England" 3. At the base: "Empire / Ivory ware/ England" and embossed also at the base "261 / England / 12?"ron white, ceramic and glass jugs, kitchenware, bathroomware

As an historic army uniform with an association to Victoria this item is of local historic and social significance. It is also in very good condition. Woolen khaki peaked hat has a central head band with solid peak connected to the lower front of the head band. The top is high at the front and protrudes out from the headband about 3cm on all sides. There is a brown leather chinstrap on the lower front of the headband above the peak and this has a slide extension that can be enlarged to go under the neck to keep the hat in position in high winds. The chin strap in connected to the headband with two plastic button that have queens crown above a map of Australia. Affixed to the front of the headband above the peak is the Artillery Corps metal hat badge in gold colouring. The interior of the top of the hat has a cotton lining under the woollen exterior and then a plastic protective lining to avoid sweat bleeding onto the exterior. A cloth badge with the makers name sewn to the cloth lining and covered by the plastic protective layer. uniform

A tilt-top Sphairistike lawn tennis racquet, with solid concave throat, leather crown protector, and white leather handle grip wrapped along almost the whole length of the shaft. Impressed inscription along throat and shaft on obverse: FRENCH & CO./46 CHURTON ST./LONDON/SPHAIRISTIKE. This historical racquet was literally one of the first lawn tennis racquets - sold as part of a lawn tennis set - to be produced by French & Co., upon the order of Major Wingfield, in anticipation of the patenting and publication of his game rules. Once the patent was granted, Wingfield had his rules published in two days, and had copies slipped into the already constructed French & Co. tennis sets, and from that point, the lawn tennis craze began. Materials: Wood, Lacquer, Glue, Metal, Gut, Leather, Inktennis

The Northern Hawk-owl is a nomadic and generally solitary bird, although they can occasionally be seen in pairs. While these birds resemble owls, their behaviour is more similar to that of a hawk, hence their name. Normally active during the day (similar to the hunting habits of a hawk), they prefer to reside in boreal forest, grasslands, shrublands and temperate, cold and polar zones. Located in North America, Europe and Asia, these owls can also occasionally be found during migration, in the northern United States. There are three subspecies in North America, Central Asia and Siberia. At the present time (2021), its numbers are stable and so it is therefore considered of ‘least concern’ on the IUCN Red List, indicating it is not yet endangered. This particular specimen has been correctly mounted and presented as a relatively accurate representation of the actual bird. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Northern hawk-owl's face features white and brown soft feathery plumage and a dark brown border around its face/chin area, with a dark cream curving beak soft yellowy brown coloured eyes. Its front breast feathers are generally off white in colour with some flecks of brown. It has a long brown tail with off white banding, with creamy white claws. The owl has speckled brown and white plumage over the back of its body and wings and some areas of more solid brown are present around the back of its neck and top of wings. This specimen stands upon a wooden platform and two identifying tags hang from its right leg, while a metal numbered tag hangs from its left.Swing-tag: 38 / Rayed Swin Owl –/ See Catalogue, Page 53. Tag with faded script: No 33 Strix[?] / misarea[?] / Sweden[?] Metal tag - digits on metal tag appear to read, either ‘5028’ or ‘6028’taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, surnia ulula, strigidae, northern hawk-owl, hawk-owl, canadian owl, hudsonian hawk-owl, owl, canada, asia, europe, north america

Details relating to Trooper Patrick NolanWW1 8th Light HorsePhotograph of Trooper Patrick Nolan on his horse "Jack Ordeal" taken at Port Said. Accompanied by items: stirrups, badge "Raising Sun, Registration of membership to R. S..S. I. L .A. dated 6/2/1917. Patrick Nolan Joined as a labourer aged 21 on 5/8/1915. Attached to Reinforcements, the 8th Australian Light Horse. Also known as Maygar's Boys. Suffering shell shock and deafness at Bir El Abd, Sinai, 8/9/1916. Discharged in Melbourne, 8/12/1916, rejoined Home Service 6/2/1917. Discharged at own request 21/6/1917. Rejoined 26/7/1917. Discharged 5/5/1918Dust/sand goggles, leather with brown lens for desert warfare. Lens 4.5 cm round, Badge "Rising Sun" Australian Military ArmedForces L 6.00 cm H. 4.5 cm. 1904 blackened copper. Left and Right strips. Markings stamped inside C. Greatnfk & Son Ld, solid nickel. The righthand strip has a broken foot strap mounting. Paper receipt for membership to Returned Sailors & Soldiers Imperial League dated 6/2/1917. Number 965. Group Photo * light bHorse Inscription on Back - mBack Row @nd from Left Patrick Nolan Dad 8th Light Horse Egypt 1st World War 1914/1918 nolan patrick 8th light horse world war one trooper stirrups goggles rising sun

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top. An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Iron; small flat domestic iron.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, iron, flat iron, domestic iron, laundery, ironing equipment, sad iron

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Flat iron cast iron with traces of original black finish on handle. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry, clothes ironing, sad iron, tailors goose

Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. Mrs Florence Potts invented in 1871 a detachable handle made from walnut wood with a metal latch to release the handle. These wooden handles prevented burned hands and were sold to grateful women all over the world. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer.Mrs Florence Potts invented this type of detachable walnut wood handle with a meta release latch for sad irons in 1871 and it sold widely throughout the world to grateful women including those in Moorabbin Shire. The family of Ms May Curtis were early settlers in Moorabbin ShireA) A sad iron, made of cast iron , has a special handle invented in 1871 by Mrs Florence Potts of Iowa, USA. B) The detachable handle made of walnut wood to prevent burned hands, was attached to the iron by a metal latch.A) UNITED/ N0 / 50 / AUSTRALIApotts florence, iowa usa, melbourne, moorabbin, sad irons, kitchen equipmentn fireplaces, walnut wood, sewing, laundry, table ware, linen, pioneers, early settlers, washing days, craftwork

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Flat iron cast iron with stand None item too badly corrodedflagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry, clothes ironing, sad iron, tailors goose

The Huon family were early pastoralists in the Wodonga area. They built the mansion, de Kerilleau in 1870 and named after the family's ancestral estate in France. The original lease of the Wodonga Run was granted to Paul Huon as No. 202 on 7th February 1837, about a year after his cousin Charles Huon had squatted on the land. In August 1849, this run was transferred to Paul's son, William. Paul Huon was one of the children of Gabriel Louis Marie Huon de Kerilleau, a French nobleman who fled France during the French Revolution and travelled under a false identity with the Second Fleet in 1794. The mansion, De Kerilleau was built by William Huon in 1870. It is a solid two storey red brick building with cream brick flat window arches. The main feature of the house is its two-storey cast-iron verandah which has been restored to its original condition. When the Governor, Sir George Bowen, his wife and two daughters needed accommodation overnight after having taken part in the celebration of the railway in Wodonga in 1873, they stayed at de Kerilleau. Sir George planted a Moreton Bay fig tree in the grounds and it still stands today. de Kerilleau is a significant building in Wodonga which has been classified by the National Trust.Coloured photographs showing a variety of features of de Kerilleau homestead.huon family, de kerilleau, de kerilleau homestead

This edition has blue cloth binding with black and gold lettering and decoration with the busy Strand street scene on the front board. The magazine's cover, an illustration looking eastwards down London's Strand towards St Mary-le-Strand, with the title suspended on telegraph wires, was the work of Victorian artist and designer George Charles Haité. The initial cover featured a corner plaque showing the name of Burleigh Street, home to the magazine's original offices. The lettering on the plaque in Haité's design was later changed when Newnes moved to the adjacent address of Southampton Street. Six issues bound in one volume. Complete with half-title and title page with an index of contents. Yellow endpapers, slight foxing, and some tears on pages. Text and illustrating are clean and readable. Inside, the inner hinges are firm with no splits at the endpapers making for a sound and solid binding. All complete and in good order. No jacket. fictionThe Strand Magazine was a monthly British magazine founded by George Newnes, composed of short fiction and general interest articles. It was published in the United Kingdom from January 1891 to March 1950, running to 711 issues, though the first issue was on sale well before Christmas 1890. The Magazine contains articles and fiction by various authors including; chapters VI to XXI of The First Men in the Moon by H.G. Wells illustrated by Claude A. Shepperson; My Life on Devil's Island by Captain Alfred Dreyfus; Strange Stories from Life: three stories by Conan Doyle, An interview with Conan Doyle, and A Visit to Tennyson by Lewis Carroll and others. With illustrations throughout, many by notable illustrators of the time. https://en.wikipedia.org/wiki/The_Strand_Magazine#fiction, magazine

This scoop was professionally made and well before plastics and aluminium scoops were manufactured. It was in a period when mass production and cheap imports where not common. This item would have been produced well after World War II and before the cheap Asian imports. It was a period in time(the last years) when items such as this scoop were made to last and consumerism was not at the "throw away" mass consumption time of the late 1900's. The rural sector in the Kiewa Valley used this type of "made to last" domestic implement when home made cakes and pastries were commonly made in the household kitchen. Because of the relatively isolation of the valley, bulk supplies of flour, sugar and other cooking ingredients were the required quantity for both domestic household and farm use. Local general stores also had these scoops to provide clients with their required flour, sugar and other bulk loose grains (processed or unprocessed) This lite galvanised rolled steel flour/sugar scoop has a tapered handle extruding from a small cone shaped base. It has a half circle scoop extending from a full circular base which has a small containment ridge which acts as a collection rim. The collection scoop has its front shovel end tapered and rolled edge (outwards) presenting a barrier and air relief when thrust into the flour/sugar. All the edges are rolled and connection links have been soldered. The handle is not of solid steel which accounts for the light weight. The base of the "shovel" is slightly concave to allow gravitational forces to keep the flour centre of mass. The handle has a ridge pressed in the sheet metal at about two thirds up the shaft All metal to metal joins have been pressed and soldered together.loose grains, sugar, millet, nus, nails, loose grocery items.

Ada Higginson owned the biscuit forcers.Historical: Ada Higginson and her family are pioneers of the Kiewa Valley.Large: Solid cylinder wooden roller with 1 end a wooden knob glued on and other end flat. The metal hollow cylinder fits over the wooden cylinder and has a screw cap with a hole and rim at the flat end. (This enables the disc to fit in while the food is forced through by the wooden cylinder.) There are 6 decorator, metal discs each with a different hollow pattern in the middle. This plunger has a pointy nozzle that can be attached by screwing on. Small: the same but with 7 decorator discs. Both metal cylinders have a cap at the flat end with 2 clips to hold it on, but move when you screw the cap off.The small one has a handle that is part of the cylinder but its knob looks as though it has fallen off. Old Cigar Box: 13 Discs inside and a folded yellow paper with recipes - Gingernuts & Sagasco Biscuits, in brown print.Simpson's / "Pirie", "Universal" & "Enterprise" / Biscuit Forcers domestic, cooking, biscuits, decorating, baking, icing, ada higginson

A real tennis racquet, with tilt-top head, and solid convex throat, manufactured by Brouaye, and presented as a trophy. Manufacturer's name is across crown on obverse.The throat piece is wrapped in a blue coloured piece of parchment, and is gold embossed with decoarative floral designs. Amongst these designs on the obverse, is the date '1860'. The handle is wrapped in padded pink velvet, and is framed by a braided silver collar around the shaft, and a braided silver butt cap. Engraved inscription across the silver collar: JUNIOR PRIZE RACQUET/WON BY/B.M. DAVIES ESQ./1860. Davies was an undergraduate student at Oxford from 1860-62, and won this, the Junior Prize in 1860, and later, the Senior Prize in 1862. A point of interest, the 1862 racquet trophy was once owned by Australian tennis champion, Lew Hoad. Materials: Wood, Lacquer, Glue, Metal, Gut, Ink, Hide, Velvettennis

Donated by Sir Henry Newland.The samovar stands 41cm high, and is 39cm wide across the handles. It is made of Sheffield plate, and dates from the late 18th century. It is supported on a square base with four cast lion’s feet attached by elaborate mounts at the corners. The main vessel or tank is circular, and set on a short columnar stand. These elements are heavily fluted. There are two elaborately decorated solid cast silver handles attached to the sides of the tank. A long spout with a cast ivory handled tap extends from the bottom of the tank. The lid is plainer, with a fluted and scalloped edge, and is capped with a finial. Inside the tank is a cylindrical immersion container for hot coals, a primitive type of heating element. There is a crest, probably that of the original owner, engraved on the shoulder of the tank above the tap. A samovar is a Russian tea urn but the College’s samovar is not a tea urn, as it does not include the stand or the teapot. Undoubtedly it was intended to provide hot water for tea, and the absence of a matching teapot indicates a cultural difference between the English and the Russians, in the way in which they went about brewing tea. It is a showpiece, intended for use and display in the reception rooms of the house. In the 18th century tea was still a rare and exotic import from the Orient, so the serving of tea was an important act of hospitality and a statement of social status.Sir Henry Newland was the College President 1929-1935Antique sheffield plated samovar with shell design and pressed rib border, finely worked casted handles, spout with swivel top, with tapered centre column, square shaped base with cast lions feet

Ford and McFarlane shearing handpiece c.1890. This shearing handpiece is from ‘Wellington Lodge” in Tailem Bend, South Australia. Wellington Lodge today is an Angus beef farm; however, the property has a long history which includes wool farming. Wellington Lodge has been in the McFarlane family since the 1840’s and was originally around 19000 acres. The donor, Brian Licence, assembled this handpiece out of spare parts he found while classing wool on the property in the 1960s. Brian showed the finished handpiece to the owners once his classing work was completed and was told he could keep the handpiece as a souvenir. Brian also classed wool at “Jockwar” and “Pleasant Park” in Penola for members of the McFarlane family during the 1960s. The handpiece is named after Ford, the name of the engineer who designed the handpiece and McFarlane, the owners of Wellington Lodge Station and employers of Ford. This handpiece was developed as a prototype for use on the property. The handpiece which is made of solid brass is in a “used condition” and has been patched with solder. The handpiece is stamped with the number 10. Internally, the handpiece is powered from a drive mechanism of compressed air, this compressed air was typically produced by burning mutton fat. The handpiece comes from the pre-electrical– steam engine era of shearing. Brass metal shearing handpiece. A three-pronged fitting to hold both the comb and the blade protrudes from one end. A cylindrical stem extends vertically from the other. This is likely where a connecting rod to the shearing plant would be found. Below this vertical stem, the handpiece has an additional threaded hose fitting. This is likely where compressed air was delivered into the handpiece. The inscriptions can be found on the rear, near the previously mentioned vertical stem. Around this stem is also where the repairs of solder can be found. These repairs are unique to this handpiece and are not common practise.Etched. Base of handle. “FORD & McFARLANE . SHEEP SHEARER . Etched. Base of handle. “10”sheep shearing, shearing equipment, ford & mcfarlane, wellington lodge, tailem bend, south australia, shearing handpiece, shearing

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

The domestic sewing box would have been used in the home.A brown varnished rectangular wooden lidded Sewing Box with a lift out top section which has 16 varying sized compartments for storing sewing accessories. There is a has a hollow area underneath the tray. The lid is attached with brass hinges and it has a brass lock and small key. There are several sewing items included - cotton reels and thread, assorted darning thread for hosiery, wool and nylon threads, a box of black pins, assorted sewing needles, thimbles, small decorative sewing scissors, black rolled tape, mixed buttons, hooks and eyes, nickel plated fittings for hats, vintage stocking hooks, a stick of white chalk, two (one green and one ivory) antique cotton thread winders and a medium sized vintage safety pin.a Variety of brands of items include - 'Rite Tone', 'Della Darn' 'C No Darn', 'Clark's Filosheen' hosiery thread, 'Barbour's Linen Wax Thread', 'The Flora MacDonald Best Steel Bodkins' 'National Hat Guard' nickel plated steel and brass fittings, 'Chadwick's Wool and Nylon' reinforcing mending thread, 'The Myrene Snap Studio' size 1 rustless press studs, 'The Pagoda Brand' rolled tape 5 yds, 'Cross Fox Brand' Best quality Steel Stems (long plastic headed pins), 'Toledo' brass thimble and a black box of 'F. Tayler & Co's Solid Headed Mixed Pins'. The brass lock has 'SECURE PATENT' stamped in to it on the inside of the edge of the front of the box. there is also a small VR with a tiny rounded pattern opposite the Patent sign. sewing equipment, sewing box, sewing, embroidery scissors, functional object

This print was an 1885 Christmas gift from the publishers of the Australian Town and Country Journal to their subscribers. At that time Queen Victoria was 65 years old although she may not have been that age when the portrait was painted. The print shows Queen Victoria’s signature in the bottom right corner. It cost sixpence per copy and operated from 1870-1919. The Australian Town and Country Journal was printed weekly, on Saturdays, in Sydney. The edition on December 26, 1885, contained 51 pages. The Journal claimed “Circulation Ten Thousand Copies, Greater than any other Weekly in Australia.” The frame of the print has a solid back of thick timber panels and is crudely made. The edges of the frame appear to have an underlying plaster base that has been covered with a layer of wood. The corners are reinforced with metal protectors. The subject of the print is Queen Victoria, Queen of the United Kingdom of Britain and Ireland. She was born as Princess Alexandrina Victoria of Kent on May 24, 1819. She became Queen on June 24, 1837 when King William IV died. She married Prince Albert of Saxe-Coburg and Gotha on February 10, 1840. Queen Victoria lived and reigned until her death on January 22, 1901, at age 82 years, after reigning for sixty-three years and seven months. This portrait is significant historically for its origin as an inclusion the Australian Town and Country Journal, a late 19th century Australian weekly newspaper, in circulation for almost fifty years. The portrait gifted to the newspaper’s subscribers is historically significant as an example of the connection between the people in the British Colony of Australia, with the value and respect held for the Queen of the Colony. The frame of the portrait, of solid and protective construction, shows the value that the owners placed on this portrait.Print behind glass in a brown wooden frame; coloured print of a portrait of Queen Victoria, made in watercolours. The Queen is wearing a blue sash, crown, and white ribbon pinned to the sash along with a cameo brooch and Royal Emblem. The portrait has an oval floral border of roses in pastel colours. Text is printed outside the border, as a title above and a signature below, in the lower right corner. The back of the frame is made of heavy timber panels with holes for attaching wire. The timber frame is over a white layer of soft substance, perhaps plaster. "Presented to the Subscribers of the Australian Town and Country Journal, December 25th 1885" “Victoria R”flagstaff hill, warrnambool, flagstaff hill maritime village, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, queen victoria, princess alexandrina victoria of kent, portrait of queen victoria, australian town and country journal, presented to subscribers, 1885

Musket balls are the ammunition used in muskets the weapons used during the English and American Civil Wars. The balls could be made from any metal alloy, but many were made from lead. Lead can be melted at reasonably low temperatures and so lead musket balls could be made over a camp fire. Lead could be readily sourced from such places like church roofs or even coffins, and recast from old musket balls, so it was an easy material to work with while preparing for battle. The soldier would carry a crucible in which to melt the lead, he would put the material into it and place it over the fire until it had formed into a liquid. Musket ball moulds like the subject item, had a small hole above one of the domes where the liquid could be poured into once the two domes were closed together. The soldier would wait until it cooled then opened the mould to reveal a solid lead ball inside. Because these were cast in halves even though pressed together, there would always be a small amount of liquid lead leakage which would form a thin crust around the ball. These needed to be filed off before being used inside a musket, so some soldiers would pop a few in their mouths and roll them around, chewing off the excess until the ball was smooth. The obvious downside to this method is that lead is poisonous. A tool used to make ammunition for black powder firearms either muskets or pistols from the early part of the 18th to mid 19th century. After this time enclosed brass cartridges that held the propellent powder and bullet were starting to come into wide spread use, negating the need for a firearm to first have black powder placed in a barrel then the ball rammed on top and finally the firearm primed with powder or a percussion cap.Musket rifle/ pistol bullet mold. Makes .50 -caliber- round balls with a sprew cutter to cut off excess lead.Marked 50flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shot pliers, lead shot, shot, armoury, firearms, bullet, cast bullet, lead ball, lead shot, scissor mould

Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer. Late in the 19thC designers experimented with heat retaining fillings for these irons. William Coleman began selling Kerosene lanterns in 1900 in Kingfisher, Oklahoma, USA. He moved to Wichita, Kansas in 1902 and the company became world wide. The company also produced a range of cooking stoves and domestic irons. This spirit- fuelled flat iron was very popular in 1920s - 30s These sad irons remind us of the difficult circumstances experienced in their daily routines by the pioneers and early settlers of Moorabbin Shire The family of Miss M Curtis were early settlers in Moorabbin ShireA) spirit- fuelled, sad iron with chrome plated sole c1920, and metal trivet The iron is blue enamel with a white speckled body, with a hemispherical tank for the Coleman 'Lighting Petrol' that provided the heat for smoothing the material B) Coleman Fuel measuring can and funnellMetal Trivet/stand " COLEMAN" ; Petrol can " COLEMAN" / MEASURING CAN / for INSTANT LIGHTING IRON/ with printed instructionssad iron, kitchen equipment, coleman william, kansas, oklahoma, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh, fireplaces, stoves, petrol fuelled irons, spirit flat irons, coleman lamp stove co. ltd.

After the 1939 bushfires, the Forests Commission Victoria invested heavily in a radically new communications network. After suffering some inevitable delays due to the war, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. But by today’s standards, the technology was primitive and the reception poor unless the user was on a high point somewhere. The radio signal was "line-of-sight" and bounced between fire towers and relay transmitters across the mountains back to the District offices. The advent of solid-state electronics in the 1960s replaced the more delicate valve sets which enabled greater use of vehicle mounted radios. The Commission continued to research, develop and build new radios at its many workshops around Victoria. The network was supported by a large team of skilled radio technicians. The more secure and versatile State Mobile Radio (SMR) digital trunk system came into operation in about 1995. Upgraded Tait Radios were purchased in 2014 after recommendations of the 2009 Bushfires Royal Commission. But it was the convergence of separate technologies such as 5G mobile phones, high-capacity and light-weight lithium batteries, Wi-Fi, the ever-expanding internet, cloud data storage, digital cameras, GPS, personal organisers and hundreds of supporting Apps into powerful smartphones and tablets which revolutionised bushfire communications from the mid-2000s. Radio without handsetSTC - Standard Telephones and Cables Ltd 3AL - Neerim Southbushfire, radios, forests commission victoria (fcv)

After the 1939 bushfires, the Forests Commission Victoria invested heavily in a radically new communications network. After suffering some inevitable delays due to the war, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. But by today’s standards, the technology was primitive and the reception poor unless the user was on a high point somewhere. The radio signal was "line-of-sight" and bounced between fire towers and relay transmitters across the mountains back to the District offices. The advent of solid-state electronics in the 1960s replaced the more delicate valve sets which enabled greater use of vehicle mounted radios. The Commission continued to research, develop and build new radios at its many workshops around Victoria. The network was supported by a large team of skilled radio technicians. The more secure and versatile State Mobile Radio (SMR) digital trunk system came into operation in about 1995. Upgraded Tait Radios were purchased in 2014 after recommendations of the 2009 Bushfires Royal Commission. But it was the convergence of separate technologies such as 5G mobile phones, high-capacity and light-weight lithium batteries, Wi-Fi, the ever-expanding internet, cloud data storage, digital cameras, GPS, personal organisers and hundreds of supporting Apps into powerful smartphones and tablets which revolutionised bushfire communications from the mid-2000s. Radio with handsetTait 163FM on metal box plus serial number Tait T196 miniphone on radio unit plus serial number Includes Dick Smith handsetbushfire, radios, forests commission victoria (fcv)

After the 1939 bushfires, the Forests Commission Victoria invested heavily in a radically new communications network. After suffering some inevitable delays due to the war, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. But by today’s standards, the technology was primitive and the reception poor unless the user was on a high point somewhere. The radio signal was "line-of-sight" and bounced between fire towers and relay transmitters across the mountains back to the District offices. The advent of solid-state electronics in the 1960s replaced the more delicate valve sets which enabled greater use of vehicle mounted radios. The Commission continued to research, develop and build new radios at its many workshops around Victoria. The network was supported by a large team of skilled radio technicians. The more secure and versatile State Mobile Radio (SMR) digital trunk system came into operation in about 1995. Upgraded Tait Radios were purchased in 2014 after recommendations of the 2009 Bushfires Royal Commission. But it was the convergence of separate technologies such as 5G mobile phones, high-capacity and light-weight lithium batteries, Wi-Fi, the ever-expanding internet, cloud data storage, digital cameras, GPS, personal organisers and hundreds of supporting Apps into powerful smartphones and tablets which revolutionised bushfire communications from the mid-2000s. Radio with handsetSTC - Standard Telephones and Cables Ltdbushfire, radios, forests commission victoria (fcv)

After the 1939 bushfires, the Forests Commission Victoria invested heavily in a radically new communications network. After suffering some inevitable delays due to the war, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. But by today’s standards, the technology was primitive and the reception poor unless the user was on a high point somewhere. The radio signal was "line-of-sight" and bounced between fire towers and relay transmitters across the mountains back to the District offices. The advent of solid-state electronics in the 1960s replaced the more delicate valve sets which enabled greater use of vehicle mounted radios. The Commission continued to research, develop and build new radios at its many workshops around Victoria. The network was supported by a large team of skilled radio technicians. The more secure and versatile State Mobile Radio (SMR) digital trunk system came into operation in about 1995. Upgraded Tait Radios were purchased in 2014 after recommendations of the 2009 Bushfires Royal Commission. But it was the convergence of separate technologies such as 5G mobile phones, high-capacity and light-weight lithium batteries, Wi-Fi, the ever-expanding internet, cloud data storage, digital cameras, GPS, personal organisers and hundreds of supporting Apps into powerful smartphones and tablets which revolutionised bushfire communications from the mid-2000s. Radio with transceiver and handsetbushfire, radios, forests commission victoria (fcv)