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Flagstaff Hill Maritime Museum and Village
Tool - Complex Moulding Plane, Late 19th to early 20th Century
A smoothing or wood plane is a wood plane used for making a smooth or decorative moulding to the surface of wood. Traditionally these planes were made from blocks of wear resistant hardwood, often beech or maple, which were worked to the shape or size required. The blade, or iron was likewise formed to the intended flat or ornamental profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding and smoothing planes for the full range of work to be performed. Large crown Mouldings or smoothing plane surfaces required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. This plane is a coffin pattern smoothing plane and is unmarked so the maker is unknown however it's design and patina indicate it was probably made in the mid to late 19th century and would be regarded as a vintage or antique item sought after today by collectors of vintage tools. A vintage tool made by an unknown maker, that was made commercially for firms and individuals who worked in wood and needed a tool that could produce a flat or level finish to timber. These types of planes came in various shapes and sizes to achieve the required finish to timber surfaces used in cabinet making. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools only. Complex moulding wood planeNoneflagstaff hill, warrnambool, plane, flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, plane, moulding plane, complex moulding plane, cabinet makers tools -
Flagstaff Hill Maritime Museum and Village
Tool - Brace & Bit, John S Fray, 1883 - 1906
Context: A brace is a hand tool used with a bit (drill bit or auger) to drill holes, usually in wood. The pressure is applied to the top and the tool is rotated with a U-shaped grip. Bits used to come in a variety of types but today the more commonly used Ridgeway and Irwin pattern bits also rely on a snail point (called the snail), which is a tapered screw point shaped the same as a wood screw thread, which helps to pull the bit into the wood as the user turns the brace handle and applies pressure. The designs used today come from an original idea and pattern invented by John S Fray. Company History: John S. Fray (1833 ) immigrated to Bridgeport Connecticut USA from England in the 1850s and established a working relationship with Nelson Spofford, who held an 1858 patent for a bit brace (the tool could be augured in a continuous circular motion by hand). He established the John S. Fray Co. around the same time and immediately began producing the Spofford bit brace. Fray himself held at least two patents: one awarded in 1869 for a boring brace attachment, and another awarded in 1883 for a tool handle. By 1889, the firm was located at the industrial complex that sits between the former International Silver Company and the former Bridgeport Chain Company on Crescent Avenue and is identified on the Sanborn Insurance Atlas as a manufacturer of Spofford bit braces, hollow handle awl, and toolsets. The company was in competition with Peck Stow and Wilcox Co. of Southington, and in 1898 was enjoined from making a ratchet bit brace for which the latter company held a patent. By the 1920s, the factory had been purchased by the Stanley Company of New Britain and leased to the American Tube and Stamping Company, a manufacturer of brass, copper, seamless, and bicycle tubing, which also ran a rolling mill to the south on Stafford Avenue (now demolished). The Stanley Company bought both mills in 1926, perhaps as a strategic move to be located along the Bridgeport Harbour, through which much of the raw material used in its operations throughout the state came. By the 1950s, the Crescent Avenue operations had been moved to other sites in Connecticut, and Stanley again leased the building to a company called Cornwall and Patterson, a manufacturer of piano hardware. Today the building appears to be vacant. An early carpenters tool made by a well known early manufacturer from America who instigated many innovations to the making of tools. His early pattern for the improvement of a tool that could be used for the boring of holes in wood was a significant step forward. His design for a boring brace attachment and later a specific handle is still in use today and his original brace and bit is now sought after by collectors of antique tools. Spofford Carpenter's Bit Brace metal has bit attached. Wing nut holds bit in place but nut missing. holds bit in place. 285mm long x 160mm Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Domestic object - Food Safe, Willow Ware Pty Ltd, 1920s -1950
Willow started business in 1887 as a metal working company based in Melbourne Australia, making tinned biscuit and tea canisters. The outbreak of the First World War saw their manufacturing change to making armaments and essential packaging for the war effort. In the early 1920’s, the Willow brand was established. Making tin plated canisters and baking pans with the well-known Willow pattern, imprinted on them. Some other items in production at this time include billies, boilers, basins and Coolgardie safes. In the late 1950’s, the company ventured into plastics production. Stepping away from its very successful tin plating industry of more than 50 years. In 1965, the company name changed to Willow Ware Pty Ltd, to be more closely linked to its Willow brand. Willow Ware is still in business today. A food safe known as a “Coolgardie” meat storage made by an emerging Australian company no longer in bushiness. This item gives a snapshot into early Australian manufacturing specifically aimed at the Australian market.Safe metal kitchen food safe with 2 shelves, a hinged door and latch and a small swivel wire handle at the top. Painted light green, rusting.Willowwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, safe, food safe, meat safe, coolgardie safe, domestic object, kitchen object, willow ware, food preservation, kitchen safe -
Flagstaff Hill Maritime Museum and Village
Domestic object - Dinner plate, William Adams, before 1863-1875
The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 18th & 19th centuries and is still being produced today. The design was produced as high quality, decorative dinnerware by the potters in the Staffordshire area of England, from the late 1830’s, but no-one is sure exactly who the original designer was. This particular example was made by William Adams of Tunstall, Stoke-on-Trent, Staffordshire at the Greengates Potteries probably after or around 1863 and is believed to have been part of a passengers goods. The Adams family have a long line of making pottery since 1584 until 1966 when they were acquired by the Wedgewood group of companies. But this items pattern is attributed to the Adams potteries. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. Plate recovered from the wreck of the Loch Ard. Earthenware dinner plate with blue and white transfer design (Asiatic Pheasant) with a clear over-glaze. The outer rim is scalloped. Stickers with inscriptions "Rec 373 A" "L 102" "From Loch Ard Wreck (1878) - - -" Design logo [Floral wreath with ribbon and text "Asiatic Pheasant" and text below "- - - -"}flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, asiatic pheasant, china dinner plate, earthenware plate, w adams potteries -
Flagstaff Hill Maritime Museum and Village
Tool - Wood smoothing plane, 1850-1890
A smoothing plane is a wood plane used for making a smooth surface to wood surfaces traditionally, these planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape or size required. The blade, or iron was likewise formed to the intended flat or level profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding and smoothing planes for the full range of work to be performed. Large crown mouldings or smoothing plane surfaces required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. This plane is a coffin pattern smoothing plane and is unmarked so the maker is unknown however it's design and patina indicate it was probably made in the mid to late 19th century and would be regarded as a vintage or antique item sought after today by collectors of vintage tools. A vintage tool made by an unknown maker, that was made commercially for firms and individuals who worked in wood and needed a tool that could produce a flat or level finish to timber. These types of planes came in various shapes and sizes to achieve the required finish to timber surfaces used in cabinet making. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools only. Smoothing Plane Coffin type Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane -
Flagstaff Hill Maritime Museum and Village
Tool - Screw Driver, F G Pearson & Co, First quarter of the 20th century
A very unique screwdriver or turn screw possibly used by a Ship Builder, Railroad Engineer or other tradesman in need of a long reach. The handle shape or pattern indicates it could have been made by G Pearson later F G Pearson Sheffield at the Hope Works. This company was established in 1854 and by 1914 the company was manufacturing many differing types of edge tools, joiners' tools, forks and garden tools. Their specialities were hay, manure and coke forks, punches, armourers' tools etc. In 1938 the Company was styled F. G. Pearson and Co (Sheffield) Ltd and they were still making plane and other sharp edged blades as late as 1957, but by the 1970s they had gone out of business. A significant company based in Sheffield England and making tools of all types and exporting same to various countries around the world. This particular item is a vintage and unusual screwdriver possibly used by a local Warrnambool tradesman. Screw driver wooden handle. Straight blade attached with brass ferrule.Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, screwdriver, tools, f g pearson sheffield -
Flagstaff Hill Maritime Museum and Village
Compass, c. 1930s
The nautical compass is used for determining directions, using a free moving magnetised needle, indicating north and south. This is a medium sized compass and was suitable for mounting in a fixed brass binnacle or a portable wooden box. The compass fluid was typically lamp oil, or a mixture of alcohol and water. This compass, based on its pattern, was probably manufactured around the 1930s. The compass’s maker, Bergen Nautik, was a 20th Century compass manufacturer, making compasses from the 1900s but no longer in business.The factory was located in Hordaland County, Bergen, on the west coast of Norway. This compass is not a very significant marine item as it was made in the 20th century. Examples of the same compass that have been salvaged can be purchased today mounted either in a wooden box or a brass pedestal.Compass; marine or ship's compass, brass, gimbal mounting, in blue metal casing. Manufacturer’s inscription is on the face. Made by Bergen Nautik of Bergen in Norway. Circa 1930s."BERGEN . NAUTIK", "BERGEN", "NORWAY" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, compass, nautical compass, marine compass, maritime compass, technical instrument, navigation instrument, bergen nautik, 20th-century marine compass, gimbal compass, ship's compass, bergan nautik, norway, 1930s marine compass -
Orbost & District Historical Society
basket, mid 20th century
Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She was a fine amateur photographer who supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert)This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.A hand-made papier mache basket in a floral pattern - roses, pansies and frangipanni. It is coloured red, purple, cream and green. It has a glossy finish. It is octagonal shaped and has a handle.papier-mache handcrafts warren-helena -
Orbost & District Historical Society
sewing machine, late 1860's - 1870's
The early settlers of Orbost had to be self sufficient making their own clothes, tableware, bed coverings, furnishings and equipment. Many women were skilled dressmakers and craft workers. This item reflects that time.A small black hand-cranked lockstitch sewing machine. It has a backwards C-shaped body. The wheel and base are decorated with a gold pattern. On the end above the needle assembly is a brass plate The balance wheel has a handle. The pattern on the wheel is a gold border with two gold, red and green stars formed by interwoven triangles. On the cloth plate is stamped "Patent March 1867 Heron Gresham" with some indecipherable marks.sewing-machine needlework -
Orbost & District Historical Society
bottle, 1930 - 1950
Peck’s meat spreads were introduced in England in 1891. Thirteen years later, the British-based Harry Peck & Co. began exporting its products to Australia. By 1938, Peck’s set up in Australia and began making canned meat and fish products.This is an example of a food container used in the mid 20th century.A small clear moulded glass jar. It has a check pattern at the top and bottom with a smooth band in the middle. It has a wide opening tapering to the bottom. It is lipped for a rubber seal. It was used for Pecks paste.on base - PECKS with some indecipherable numberscontainer peck's-paste jar -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied, double collar lip; square upper with flared lower. Neck has seams and shoulder seam from 3-piece mould. Body with horizontal ripples tapers inwards to base. Push-up base with pontil mark and embossed inscription. Tape over wire around mouth. Cork remnants inside mouth. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Push-up base with pontil mark and embossed inscription. Base is uneven, glass composition has imperfections.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Neck has seams and shoulder seam from 3-piece mould. Body tapers towards base. Push-up base with pontil mark and embossed inscription. Base is uneven. Mouth has remnants of the seal in it and tape remnants around its outside. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim, Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Neck is slightly bulged and there is a mould seam where shoulder joins base. Body tapers inward to base. Uneven base with deep push-up centre with small pontil mark. Scratches and imperfections in glass. Also encrustations on surface. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has remnants of tape and wire seal. Mould seam around shoulder. Body tapers slightly inward to the base. Push-up base has pontil mark and is embossed in large letters. Base is uneven. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. However, this bottle is rare, in that the base has been embossed then over-embossed with the same text, letters overlapping. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is a rare find, in that the base has been over-embossed with the same lettering, letters overlapping one another. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, over embossed, brown glass, handmade, rare. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has sealing tape remnants around top. Mould seam around shoulder. Body tapers inwards to push-up base. Top edge of lip has application faults. There is also a rectangular indent in the upper edge of lip. Base is embossed and over embossed, with the letters overlapping each other. Embossed on base "6 TO THE GALLON", then over-embossed with the same "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable, over embossed, rare -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable -
Warrnambool and District Historical Society Inc.
Document, Pattern Ladies dress Butterick, Second half of 20th century
Paper patterns have been used by dressmakers and home sewers throughout the 20th century and are still used today. The Butterick Company was established in 1863 and was the first to mass-produce sewing patterns. The company was acquired by the CcCall Pattern Company in 2001. Jessen Dress Materials shop was at 116 Lava Street in the 1970s and 80s and Bargain Box Fabrics took over the shop in the 1990sThis pattern envelope is of minor interest as coming from a local Warrnambool shop. It may be useful for display This is a paper envelope containing the instructions and cut-out material for making a woman's dress (day and evening) The envelope contains four loose items. Butterick 6939 Dress Material. No Exchange, Average Moins facilewarrnambool, butterick patterns, jessen dress materials -
Warrnambool and District Historical Society Inc.
Ink wells, 2 Ink Wells - clear glass, 1920s
These inkwells would have been used in a household or business during the first half of the 20th century. By the 1950s fountain pens were in common use and, by the 1960s, ballpoint pens were used, making the use of ink obsolete in most situations. These inkwells have no known local provenance but are of interest as examples of a common household item over 100 years ago. These are two inkwells made of glass with black bakelite tops. One of the tops is broken on the side. The bases of the inkwells have an embedded star-shaped pattern with eight points. ‘Velos product’ household items, inkwells, history of warrnambool -
Australian Institute of Archaeology
Mummified Cat, Charlie, Pre Ptolemaic - before 330BC
Neutron scans from ANSTO reveal that only portion of the animal, probably a cat, was wrapped in the mummy. Preliminary reports of C14 dating indicates that it dates from about 600BCE. It was discovered in the 1850s in Egypt. Many animals in ancient Egypt were deemed to represent a specific deity. Egyptologists have suggested that in the first millennium B.C. an act of popular piety was to place a mummified animal as a votive offering in a catacomb established at a cult center of that deity. Such an act may be expected to afford protection and bring good fortune. More recently, a close connection between the veneration of sacred animals and the worship of the king has been proposed, with the suggestion that these offerings were obligatory for religious officials and soldiers connected with certain royal cults. Interment of sacred animals was quite common in the Ptolemaic period (304-30 BCE) and continued well into the first half of the Roman period, or the second century CE. Cat cemeteries have been found throughout Egypt, and it is probably the Goddess, Bastet's association with her divine sisters in the wild, the malevolent Sakhmet and other lion-headed goddesses, that accounts for the presence of very large cat catacombs at Saqqara, Thebes, and Beni Hasan, where these leonine deities were particularly revered. There were several ways in which the cats were prepared for deposition; in the simplest cases the bodies were mummified and wrapped in linen strips, which were sometimes dyed different brown tones and woven to form geometric patterns. Usually the limbs were positioned close to the body, making a compact bundle but some mummies held lifelike poses. Egyptians considered certain individual animals to be living manifestations of a god, such as, the Apis bull. Individuals were mummified when they died and buried for eternal life, then replaced by another single living manifestation. Research on animal mummies shows that the majority of mummies found at the large animal cemetery sites are pre-adults who were purposely killed for use, sometimes by breaking the neck. Some mummies are 'substitutes' containing only a few bones or feathers or possibly sticks or sand. Mummified cat remains. -
Churchill Island Heritage Farm
Textile - Lace Trim
This is another machine lace made using a thicker crochet-like thread, quite possibly cotton judging by the texture. The geometric pattern has been made in the style of Torchon lace and it gives the appearance of softness and comfort. This lace is quite narrow (1.1cm) and was not made as an insertion lace but as a trim. It was most likely used as a trim on children’s underclothing and bed linen. It may have been used as a trim on a mob cap for a maid or a less senior member of the household. This machine made lace would have been made on a Barmen machine which was developed in Germany in the 1890s and was capable of making perfect copies of Torchon and other simple bobbin laces.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.Torchon machine lace, coarse crochet like thread. One fairly straight edge with picots. Other edge has clusters of elongated picots at even intervals. Geometric pattern insidechurchill island, lace, janet amess, lace collection, torchon -
Churchill Island Heritage Farm
Clothing - Trim, Black Beaded
At 11cm in width, this lavishly embroidered lace would have been used as a trim or an insertion piece for evening wear, perhaps as a trim on the bodice of an off the shoulder evening gown. It comprises two layers: a strong base possibly machine made and a fine top layer luxuriously embossed with sequins and bugle beads which was possibly done by hand. It appears to have been made using matte black silk which was known as grenadine and used on the Pusher machine which could only make the pattern and the net. The outline had to be put in by hand. Nottingham stopped making Pusher lace in the early 20th century but it continued to be made in France.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. length of black beaded trim with two layers: machine made lace with hand-stitched overlay of sequins and jet cylindrical beads in abstract designs.Packaged with note: "Black beaded trimming (hand beaded)".janet amess lace collection, churchill island, lace, sequined, amess, trim -
Churchill Island Heritage Farm
Textile - Lace Trim
This is a machine made length of lace which has been executed in the Cluny style. Cluny lace is a bobbin style lace which is worked in a continuous piece and is heavily plaited in geometric designs. It is believed to have originated from copies of designs in the Musee de Cluny in Paris. There is a company in Ilkeston in the United Kingdom called The Cluny Lace Company which is still making both Cluny and Valenciennes lace using Leavers machines. The Mason family started making lace in the 1760s at the start of the Industrial Revolution. For two centuries the five generations of the family have paid close attention to detail and have brought the company to the forefront of new technology. Many of the lace patterns still used today were designed and draughted by Frank Maltby Mason and Francis Bowler Mason, the sixth and seventh generations of the family. They have developed a data bank of designs over this time and by combining the best of old traditions with new technology the firm is able to produce a wide range of exquisite designs of Leavers Cluny style lace allovers, edgings and insertions. This lovely insertion would be well suited to decorate a mob cap or on bed linen and nightwear.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Length of machine made Cluny-style lace trim with repeating diamond pattern on the border, and a central geometric/floral motifchurchill island, lace, janet amess lace collection, machine, amess, cluny -
Churchill Island Heritage Farm
Textile - Lace Trim
This piece is a filet lace with a hand darned pattern on machine net and embroidered for ribbon to be threaded through the reverse to highlight the design. It is also known as beading lace which is most commonly used in lingerie. Filet lace is a form of decorative knotted netting and as such can be presumed to have derived from fishnet and is similarly made using a shuttle-needle and a gauge stick or rod although this one has been made on a machine. In 1812, the first net-making machine was invented and was in commercial use by 1820. There are pre-made nets available on the market today but there are different types of net, some made especially for filet. The hand darning would have been made by anchoring the netting and using a long blunt needle and thread. Wider pieces of filet with hand embroidery were commonly used to trim clerical vestments.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Filet hand darned pattern on machine net in repeating noughts and crosses geometric motifs.lace, churchill island, janet amess lace collection, amess -
Churchill Island Heritage Farm
Textile - Lace Trim
A hand crocheted lace, this fine example could also be called a single galloon lace due to the scalloped edge. In lace making the word ‘galloon’ refers to a braid or lace with one or two scalloped edges. These trims were sometimes made of metallic thread and used to trim military uniforms and the word comes from the French “galonner” meaning ‘to trim with braid’. Owing to the structure of the outer edge it could also be referred to as beaded lace as there is space for fine ribbon to be threaded through the stitches. This length of hand crocheted lace would have been a delicate adornment for trimming a fichu or for lingerie and children’s clothing. Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Hand crochet ivory lace trim with a scalloped selvedge and even diagonal patternlace, churchill island, janet amess lace collection, amess, handmade, crotchet -
Churchill Island Heritage Farm
Textile - Lace Piece
This lace appears to be a beautiful product of the Leavers lace making machine. It is Valenciennes in style which is a bobbin lace characterized by the diamond shaped net. Unlike comparable Mechlin lace it does not have a gimp thread outlining the pattern. Valenciennes lace originated in France but perhaps due to religious persecution later moved to Ypres in Belgium and was very popular in the 18th century. It was simpler to produce than Mechlin lace and was never used on expensive garments but reserved for bed linen, lingerie and the fichu. By the 19th century it was made by machine which made it cheaper and even more accessible.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine made Valenciennes lace with a floral design on a fine mesh background, and one scalloped edge.lace, churchill island, janet amess lace collection, amess, machine -
Churchill Island Heritage Farm
Clothing - Lace Piece
This narrow (3.3cm) piece may have been used to embellish the bodice or the waistline of a garment. Chemical lace is a late 19th century form of machine lace made by embroidering the lace pattern onto a sacrificial fabric which has been chemically treated to dissolve when immersed in a solution which will not harm the lace. However, the composition of the solution was not environmentally friendly so this method of lace making has all but disappeared in many countries. Chemical lace can be distinguished from needle lace by a slight fuzziness of the embroidered threadsThe Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Narrow length of chemical lace janet amess lace collection, lace, churchill island, chemical, amess -
Churchill Island Heritage Farm
Textile - Lace Piece
This piece is a beautifully preserved machine made copy of Valenciennes style lace as can be seen from the diamond shaped ground. This would have been made on the Barmen machine which was developed in the 1890s in Germany from a braiding machine. Its bobbins imitate the movements of the bobbins of the hand-made lace maker and it makes perfect copies of the simpler hand-made laces. It can only make one width at a time and does not have the pattern potential of the Leavers machine. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine made Valenciennes lace with diamond groundjanet amess lace collection, lace, churchill island, machine -
Churchill Island Heritage Farm
Textile - Lace Piece
This piece is amachine made copy of Valenciennes bobbin lace with many-legged spiders and a simple oval and circle pattern. Again it is worth noting that hand-made Valenciennes lace was very costly and time consuming (e.g., a pair of ruffles valued at £160 would take the lace maker ten months of fifteen hour days to complete) therefore the advent of machine made copies was welcomed although the Barmen made lace was more expensive that that made on the Leavers machine. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine made Valenciennes lacejanet amess lace collection, lace, churchill island, amess, machine -
Churchill Island Heritage Farm
Textile - Lace Trim
Whether machine made or handmade, this length of trim is dainty and delicate in the true Valenciennes style. Circles surrounding six-petalled flowers with little spiders above and below where the circles meet, it is quite beautiful. The diamond ground is typically Valenciennes as is the pattern of flowers. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace. This trim is also suited to trimming a mob cap.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Valenciennes lace with floral motifs with six petals enclosed within a circular motif.janet amess lace collection, lace, churchill island, janet, amess