Showing 1861 items
matching domestic items
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Orbost & District Historical Society
handle, First half 20th century
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. The detachable insulated handle was designed to be always cool for ironing. The handle was detachable, so that several irons could be on the stove at one time and the handle swapped between several bodies. This handle appears to belong to a Mrs Potts' sad iron - Reg. No. 1885. This item is an example of an invention that was universally adopted because it meant that users could keep several irons on the stove at one time and the handle swapped when needed. The original Mrs Potts irons had handles made of wood (walnut) and this enabled the user to us the iron without sustaining burns. The item reminds us of the difficult circumstances experienced in their daily routines by the early families in Orbost A wooden handle which has been painted green. The base is made of cast aluminium and is attached to the handle by two screws ( not original). In the base is a hinged piece for attaching to the iron, held to the base plate by a spring and operated by a wooden knob for quick release. A hook holds the handle to the iron.On the base is an indecipherable number.handle sad-iron flat-iron mrs-potts domestic laundry -
Orbost & District Historical Society
hand drill, Mid 20th century
This item is an example of a domestic woodworking tool commonly used before the widespread use of power tools.A hand drill with three wooden handles. The main gear is painted red.On right handle - Made in China with some Chinese lettering.tool hand-drill -
Orbost & District Historical Society
rebate plane
This item is an example of a domestic woodworking tool commonly used before the widespread use of power tools.A wooden rebate plane with a brass adjusting knob. It has a cutting edge, such as a sharpened metal plate attached to a wooden body,woodworking-tool hand-rebate-plane -
Orbost & District Historical Society
plane, first half 20th ceentury
A grooving plane was traditionally used for drawer bottoms or for flooring or lining boards.This item is an example of a domestic woodworking tool commonly used before the widespread use of power tools.A wooden grooving plane - no blade.tool woodwork plane-grooving -
Orbost & District Historical Society
hand drill
The invention of a hand drill is credited to Arthur James Arnot and William Blanch Brain of Melbourne, Australia who patented the electric drill in 1889. In 1895, the first portable handheld drill was created by brothers Wilhem & Carl Fein of Stuttgart, Germany. Hand-powered devices have been used for millennia. However, during the last quarter of the 19th century a radically improved generation of tools appeared. These tools took advantage of modern mass production machinery and processes (like interchangeable parts) and an increased availability in superior material (metal instead of wood). One of the outcomes included an array of new drilling machines. These human-powered tools were a vast improvement over earlier tools.This item is an example of a commonly used domestic tool - pre power tools.A Stanley hand drill with two wooden handles. The red wheel is painted metal. On red wheel - STANLEY ENGLANDwoodwork tool hand-drill -
Orbost & District Historical Society
carpenter's pincers, first half 20th century
The main purpose of carpenter's pincers is to pull out nails from wood without damaging the surface. These carpenter's pincers would have been used in Orbost in the construction of new buildings or on a rural property for maintenance.This item is an example of a domestic carpentry tool in common use before the widespread use of power tools.Pincers with long, rounded, pivoted metal handles ending in a pair of jaws for gripping and extracting nails or holding or gripping small objects.woodworking tool pincers carpentry -
Orbost & District Historical Society
glass rolling pin, 1930's
... item. domestic kitchen glass rolling-pin, one one end - M ...Starting in the 18th century, glassworks in English port towns like Bristol, London, Sunderland, and Newcastle began producing hollow glass rolling pins. They were originally produced for sailors to give to loved ones, particularly young women they were hoping to woo for marriage. Plain, clear glass rolling pins became a common kitchen item in the first half of the 20th century as they were seen to be more easily cleaned that wooden ones.This item is an example of a once commonly used kitchen item.A moulded clear glass cylinder rolling pin with glass handles at each end. It is hollow and can be filled with cold or warm water to better roll a preferred food. There is no stopper at one end. It is marked with M at one end (probably indicating size).one one end - Mdomestic kitchen glass rolling-pin, -
Orbost & District Historical Society
tea caddy, First half 20th century
This container is part of a collection of retail packaging, domestic goods, tinplate, made for Bushells, Australia, 1908-1940 In the mid-nineteenth century custom branded tins developed as a tasteful form of advertising. They were often cheap and decorative and found their way into households as gifts, often being kept as ornaments and storage boxes.They have survived well in many homes. This tea caddy is an example of an Australian branded item used in local households. Rectangular metal storage tin printed with scenery of a tea plantation, hills, women carrying baskets and carts. At the top of the front face is the word 'PEEL'. A small cylindrical lid fits on a short neck on the top. Printed around the lid and base is information about Bushells.lid: "Bushells makes 40 more cups to the pound. On bottom: "Net 1lb wt; No.144 - guaranteed under the Pure Food Act; NSW; 1908 by Bushells , Ltd, No.144" -
Orbost & District Historical Society
book, P.W.M.U Cookery Book, 1962
... domestic reference item for many households. cookery recipes book ...This copy was used by Jean Ralston (nee Cameron) of Orbost. She was married to Jack Ralston. John Gavin Ralston was born 26 July 1914 at Eden, N.S.W. and came to Orbost in the early 1920's, with his parents and siblings. They lived at the corner of Tennyson and Salisbury Streets. Jack was educated at Orbost Higher Elementary School before being apprenticed to William Ross at the Snowy River Mail as a lino-type operator. He married Jean Cameron. After WW11 when he served overseas in the islands) He resumed his trade at the Snowy River Mail until 1949 when began J.G.& J.M. Ralston, Seed & Produce Merchants. Jack Ralston was very involved in the Orbost sporting community, the Presbyterian Church and the Orbost Municipal Band. He also served in the Orbost sub-branch of the R.S.L. He died on April 15 1967. (ref. Margaret Smith O.D.H.S. Newsletter) This item reflects community affiliation with the Presbyterian Church as well as being a popular domestic reference item for many households. A cardboard covered spiral bound recipe book with a colourful cover - photographs of prepared food. Above the photos is the title, "P.W.M.U. Cookery Book" in black print.front cover: Jean Ralston handwritten in blue pen Inside back several recipes have been handwritten.cookery recipes book-cookery p.w.m.u. -
Orbost & District Historical Society
box, Early 20th century
... the campaign, particularly in Victoria. (ref Wikipedia) This item ...This wooden box was possibly a plain brown box which has been hand decorated with shells and pieces of glass. It might have been stored on a mantelpiece or dressing table and was used to store "bits and pieces". The Australian Natives' Association (ANA), a mutual society was founded in Melbourne, Australia in April 1871 as the Victorian Natives' Association. In 1872 it voted to extend membership to men born in the other Australian colonies and changed its name at the same time. The Association played a leading role in the movement for Australian federation in the last 20 years of the 19th century. In 1900 it had a membership of 17,000, mainly in Victoria. The ANA provided sickness, medical and funeral cover. Membership in the ANA was restricted to men born in Australia.The ANA consisted mainly of energetic middle-class men aged under 50. In 1880 the ANA committed itself to the federation of the Australian colonies, and provided much of the organisational and financial support for the Federation Leagues which led the campaign, particularly in Victoria. (ref Wikipedia)This item is an example of a small hand decorated container used to store domestic items. It might have been stored on a mantelpiece or dressing table.A wooden box with a hinged lid. The outside lid is decorated with shells and glass. There is a keyhole at the front. Inside the box is padded and lined with cream/gold decorated paper. It contains photographs, cards a 1906 calendar, postcards, postage stamps and a membership card for A.N.A. - Orbost Branch No.267container handcraft a.n.a. -
Orbost & District Historical Society
gravy boat, Early 20th century
... gippsland This item is an example of an item of domestic tableware ...This item is an example of an item of domestic tableware commonly used in the first half of the 20th century.A white porcelain gravy boat with a pouring lip. It has a raised pattern. The handle is ear-shaped.On bottom -Ridgeways ENGLAND Royal Semi-Porcelain Guaranteed -
Orbost & District Historical Society
veterinary medicines, late 19th - mid 20th century
... gippsland The veterinary items would have been used in a domestic ...The veterinary items would have been used in a domestic situation for the care of family pets.These items are examples of domestic veterinary items used in the early 20th century.An old Pascall tin containing six items - Goddards Mercurial Plate Powder; Krect Condition Powders; Krect Worm Tablets; Forbes Phosferrine Tonic for the nerves; Tibbs Cat Powders; Piperazine citrate for tapeworms. The tin has boating scenes on the sides and top.Pascall Claremont TASMANIAveterinary pascall -
Orbost & District Historical Society
pillow sham, first half 20th century
A pillow sham is a decorative pillow case. This is a handmade pillow sham especially crafted for a household in early Orbost.This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A rectangular lace pillow sham. the centre rectangle is white and made of pulled thread lace. The edging is pale pink and blue lace,handcraft pillow-sham needlework -
Orbost & District Historical Society
table cloth, C 1930's
This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A white / cream coloured linen tablecloth, edged with crochet. It has scalloped edges and is embroidered with orange stylised water lilies which have green leaves.needlework table-linen handcrafts -
Orbost & District Historical Society
table cloth, first half 20th century
This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, A hand made rectangular shaped white table cloth made of fine linen. it has lace insertions which are flower shaped. The flower stems and leaves are embroidered.table-linen handcraft needlework -
Orbost & District Historical Society
doiley
This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, A cream linen circular doily with scalloped edges. It is hand embroidered with a kookaburra and wattle design. It has some lace edging. doily needlework handcraft table-linen -
Orbost & District Historical Society
Coolgardie safe, first half 20th century
Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890s by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)The Coolgardie safe was an Australian invention used especially in country areas from the 1890s until the mid 20th century. It began to be replaced by ice chests from the turn of the twentieth century in cities and country towns which had ice works. This item is an example of a domestic appliance commonly used before electricity was widely available for domestic use.A cube-shaped metal Coolgardie safe painted blue. It has a triangular hook on the top for hanging or lifting. There are small feet at bottom . The sides are perforated in a Above the door; Inside a rhomboid shape "WILLOW"food-storage coolgardie-safe domestic -
Orbost & District Historical Society
Coolgardie safe, first half 20th century
Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890's by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)This item is an example of a common domestic appliance used before the widespread connection of electricity to homes and refrigeration. The Coolgardie meat safe is an Australian invention used widely in rural areas from the 1890's until the mid 20th century.A metal meat safe, painted white. It has a shelf inside. The door has two perforated rectangular sections metal framed in solid metal. The base is flat.storage domestic coolgardie-safe -
Orbost & District Historical Society
lantern, Kwang Hwa, first half 20th century
This item is an example of a lighting device commonly used before electricity was widely available for domestic use.A hurricane lamp with a rounded tank and small carry handle (a larger handle is possibly missing). It has a lever to open the glass tank. It has a metal base which is filled with kerosene. On top is a metal hood with vents.Around base : Chinese characters. On top : "Made in China KWANG HWA"lighting lantern kerosene-lamp hurricane -lamp -
Orbost & District Historical Society
lantern, World Light MFY LTD, 1920's-1940's
This lantern could have been used for railway lighting. Railway lighting illuminated not only stations but also yards, engines, rolling stock, signals, signal-boxes and crossings. There were a number of different types of lamps used for a variety of railway purposes. This is a hand-held light.Railway lamps of this kind were significant railway items in their period of use as essential tools to the safe-working operations of the railway. Used domestically these lanterns were common in the period before the widespread connection of electricity. A painted red metal "hurricane" lamp which has a glass shade. This is a portable oil lantern which has an oil tank on the bottom that forms the base of the lamp. The tank has a door for filling and it also houses the wick and knob that increases or decreases the length of the wick.On base : No. 707 Globe Brand (globe of world) World Light MFY LTDlantern lighting hurricane-lamp -
Orbost & District Historical Society
mincer, 1890's
This item was used by Helena Warren (nee McKeown), a well known photographer and local press correspondent. She lived at Newmerella. The meat mincer was a particularly popular kitchen gadget. By means of the mincer left overs and off cuts could be transformed into shepherd's pie or mince steak. Gadgets like this Universal food chopper are typical of domestic inventions designed to reinforce the principles of thrift and labour-saving. Many of these gadgets were imported from the United States. A cast iron metal hand mincer with a long metal body with an opening at one end, inside which is a circular spiral blade and a screw clamp attachment at the other end. On one side of the mincer is a curved metal handle held in place by a metal nut and a wooden bulb shaped knob at the end. There is a metal circular webbed blade held in place by a metal nut and bolt."Universal No. 2 brand; L.F. & C., New Britain, Conn., U.S.A."mincer chopper food-preparation -
Orbost & District Historical Society
biscuit forcer, mid 20th century
Biscuit dough was put into the forcer/case/cylinder and the wooden pin pressed down to force dough out as a shaped biscuit. This would have been used in use in an Orbost home in the mid 20th century.This item is representative of kitchen utensils in common use in working class kitchens in 20th century prior to the common availability of packaged biscuits.Biscuit paste forcer made up of a metal barrel with a ring for hanging at top and a wooden plunger with a knob handle on top. This is shaped like a rolling pin. Biscuit mix is forced through the end of the tube to create fancy-looking biscuits.domestic kitchen food-technology biscuit- forcer baking appliances -
Flagstaff Hill Maritime Museum and Village
Domestic object - Travelling cot, 1910 to 1940
... A mass produced item made for domestic use... Warrnambool great-ocean-road A mass produced item made for domestic ...A mass produced item made for domestic use. There is no history or manufacturing provenance currently available.The child's travelling cot is believed to have been produced before 1950.Child's folding travelling cot made from canvass, cord and leather., with wood support bars.Nonewarrnambool, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cot, crib, travelling cot, baby s cot -
Flagstaff Hill Maritime Museum and Village
Domestic object - Tankard
Metal tankards often come with a glass-bottom. There is a legend that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, for the Navy could use force by using “press gangs” to conscript recruits rendering this type of deception unnecessary. Other legends are that in a bar fight, a recipient with a glass bottom tankard could see if a first punch was thrown whilst they had the tankard raised to drink. Another has it that the glass bottom was implemented so the drinker while drinking could observe his surroundings and the dubious people within the Tavern such as thieves, ladies of the night or anyone that could, or may do him harm. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of using a fragile and expensive pint glass. If this item is an early tankard from the 18th or 19th century it would be a significant item. Also if a known maker from these time periods could be established it would make the tankard quite valuable. Tankards from this time are snapshots of peoples past everyday lives and form a significant part of our social history so are worthy of preservation in all there forms. Pewter tankard with glass bottom, marine encrusted, recovered from unknown shipwreck.tankard, pewter, mug, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vessel, drink, tavern, drinkware, kings shilling -
Flagstaff Hill Maritime Museum and Village
Decorative object - Peacock, Minton Majolica life-size model, Paul Comolera, artist, Designed: c. 1873; Made: c. 1875
This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (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. The collections object is to also give us a snapshot into history so 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 early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, Royal Doulton, Late 19th to early-20th century
The Royal Doulton company began as a partnership between John Doulton, Martha Jones, and John Watt was an English ceramic and home accessories manufacturer founded in 1815. Operating originally in Vauxhall, London, later moving to Lambeth, in 1882 it opened a factory in Burslem, Stoke-on-Trent, in the centre of English pottery. The business was specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stonewares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware's made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone China table wares and decorative items. An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects. This ink well is historically significant as it represents the method of hand written communication that was still common up until the mid-20th century, before fountain pens and ballpoint pens took over in popularity and convenience.Ceramic, salt-glazed, mid-brown ink bottle. It has a small round mouth, rounded lip that extends past neck, wide shoulders, straight sides, flat base. Handmade. The surface is matt. there are flecks of dark brown in the clay. The bottle has marks on the side.Noneflagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, shipwreck artefact, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, inkwell, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, ink bottle, dwarf ink, salt glazed -
Flagstaff Hill Maritime Museum and Village
Leisure object - Stereoscope, H C White, Late 19th century
The development of stereoscopic photography views or stereographs was immensely popular in the United States and Europe from about the mid-1850s through the early years of the 20th century. First described in 1832 by English physicist Sir Charles Wheatstone, stereoscopy was improved by Sir David Brewster in 1849. The production of the stereograph entailed making two images of the same subject, usually with a camera with two lenses placed 6 cm apart to simulate the position of the human eyes, and then mounting the positive prints side by side laterally on a stiff backing. Brewster devised a stereoscope through which the finished stereograph could be viewed; the stereoscope had two eyepieces through which the laterally mounted images, placed in a holder in front of the lenses, were viewed. The two images were brought together by the effort of the human brain to create an illusion of three-dimensionality. Stereographs were made of a wide range of subjects, the most popular being views of landscapes and monuments and composing narrative scenes of a humorous or slightly suggestive nature. Stereoscopes were manufactured for various price ranges and tastes, from the simple hand-held device introduced by Oliver Wendell Holmes who promoted stereography through articles to elaborate floor models containing large numbers of images that could be flipped into place. The stereograph became especially popular after Queen Victoria expressed interest in it when it was exhibited at the 1851 Crystal Palace Exposition. Like television today, stereography during the second half of the 19th century was both an educational and a recreational device with a considerable impact on public knowledge and taste. The Fine-art Photographers' Publishing Co. published many stereoscopic pictures from many different photographers from around the world under license. They also not only sold these images of various scenes and of famous people of the time but also were retail sellers of the viewers with the subject item having been made in the USA probably by H C White who held the patent for the subject items design from 1895 to 1902.An item that was very popular from the mid 19th century through to the beginning of the Edwardian period. Used for entertainment and also educational purposes and significant as it gives us a snapshot into the Victorian era and its social and domestic societal norms. Stereoscope viewer with adjustable view-finder that has a padded nose rest. The slide holder can move along the channel to suit the viewer. Made in London by the Fine-art Photographers' Publishing Co. Printed on metal plate "THE FINE-ART PHOTOGRAPHERS' PUBLISHING CO. 48 Rydevale Rd, LONDON, S.W." Embossed on viewing cup "U.S.A. PATENT OCT.15.1895" "CANADA / FRANCE / GERMANY / D'R''G'M' NO. 53803" "JUNE 3.1902 / FEBY 1.1896 / B.S.G.D.B. / GREAT BRITAIN / AUSTRIA / BELGIUM"warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, stereoscope, stereographs, stereoscope viewers, home entertainment -
Flagstaff Hill Maritime Museum and Village
Furniture - Plant Stand, Late 19th Century (1898)
During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869) while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive' bamboo, aimed particularly at the export trade. Stating in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere and this item in the flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer here and put together by the purchaser. The bamboo plant stand is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain because the item is so fragile so this example is a valuable addition to the Flagstaff collection. It is believed,the construction method used is by a notable and respected maker in England of bamboo furniture that was aimed specifically at the export market and probably came to Australia in kit form to be assembled by the purchaser.Bamboo plant stand with octagonal top edged with tortoise shell bamboo the top is of wood and supported by four tortoise shell bamboo legs joined at the base by a square cane covered shelf. The tortoise shell appearance is brown lacquer. Item is part of the Giles Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, furniture, plant stand, bamboo furniture, etagere, victorian furniture, simulated bamboo, tortise shell, a englander & searle, domestic furniture, giles collection, henry giles, cooramook, mailor’s flat, wangoom, 19th century household goods -
Flagstaff Hill Maritime Museum and Village
Artwork, other - Wall decoration, Vera Giles, late 19th to early 20th century
During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as "Home sweet Home “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. For more information on the Giles collection see Acquisition section this document: An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. The Giles family collection is of additional social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us an additional view into what domestic life was like in early colonial times prior to Federation.Wall decoration, framed handmade embroidered tapestry with the woven inscription, Frame has velvet cover. This item is part of the Giles CollectionHome Sweet Home, in gothic scriptflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, soft furnishing, wall decoration, home sweet home, wall hanging, handmade wall hanging, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century handcraft, mrs vera giles -
Flagstaff Hill Maritime Museum and Village
Functional object - Lamp, Carl Hermann Nier, 1928-1932
... and fully re-establishing the company in 1950. A domestic item ...Carl Hermann Nier in 1877 a silverware maker started to produce miners lamps and household lanterns in Beierfeld, Saxonia, East Germany. In January 1902 he established the Nier-Feuerh and company in his home town to produce kerosene lanterns. Carl's three sons Bruno, Curt and Woldemar Nier made the company into the largest lantern producer in the 1930s with Bruno Nier holding many patents for lamps. Lantern production was interrupted by World War II and ceased at the end of 1944 because of the shortage of materials and the advancing Russian army. After the Second World War the company restart the lantern production in 1947 at Luedenscheid and Hohenlockstedt north of Hamburg and fully re-establishing the company in 1950. A domestic item with an interesting history that now is sought after by collectors giving an insight into how hurricane kerosene lamps came into being from a manufacturer in Germany that held numerous patents for oil lamps from 1902 until 1940.Kerosene lamp with handle, red in colour, badly rusted. Lamp shade has lever to lift so you can light it.Marked "Feuerhand Nr 327" "Made in Germany".flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, lamp, kerosene lamp, hurricane lamp, nier-feuerh, carl hermann nier