Showing 3005 items
matching domestic object
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Ballarat Tramway Museum
Domestic Object - China Vase, Devon Ware Fieldings, c1910
... Domestic Object... Parade Ballarat Ballarat goldfields China Vase Domestic Object ...Yields information about the appearance through a drawing of Sturt St in the mid 1920's and yields information about the manufacture of china items with images on the outside of the vase.Black colour external china vase with handles, white interior with a gold rim, three small legs at base with a transferred image of Sturt St from Grenville St early 1910's with an ESCo tram arriving at the Grenville St terminus and with another tram in the view. Looks west along Sturt St. Produced by Devon Ware Fieldings, Stoke on Trent England - marked on the base of the object. tramways, trams, crockery, sturt st, esco -
Ballarat Tramway Museum
Domestic Object - Glass Paperweight, "Town Hall and Sturt St Ballarat"
... Domestic Object... Parade Ballarat Ballarat goldfields Glass Paperweight Domestic ...Demonstrates the use of a glass paperweight fitted with a reproduction of a Ballarat ESCo tram towing a horse tram along Sturt St.Glass curved paperweight with indented base and a photo printed on a brown outside card of an ESCo horse tram towing a heavily loaded train east bound in Sturt St Ballarat with the Town Hall in the background. See Reg Item 162 for a hand colour image. Taken c1905 as tram does not appear to have a destination box fitted. No details of manufacturer, photo c1910, but could be a later production or even one you put your photo into it.trams, tramways, crockery, sturt st, esco -
Ballarat Tramway Museum
Domestic Object - China Plate, C.R. Hose Cheltenham, May. 2010
... Domestic Object... Parade Ballarat Ballarat goldfields China Plate Domestic Object ...Has a strong association with the celebration of 100 years of the Prahran and Malvern Tramways Trust - some of whose trams operate still for the Ballarat Tramway MuseumApprox 200mm dia china plate prepared for the Centenary or 100 years of The Prahran and Malvern Tramways Trust. White china with a gold rim and a red brown PMTT logo and the words "Celebrating 100 years". Made by C.R. Hose Cheltenham for Ron Scholten who organised the celebrations.tramways, trams, pmtt, crockery, centenary, celebrations -
Ballarat Tramway Museum
Domestic Object - Glass Tankard, C.R. Hose Cheltenham, May. 2010
... Domestic Object... Parade Ballarat Ballarat goldfields Glass Tankard Domestic Object ...Has a strong association with the celebration of 100 years of the Prahran and Malvern Tramways Trust - some of whose trams operate still for the Ballarat Tramway MuseumGlass Tankard, with handle, approx. 135mm high with heavy base made for the celebrations of 100 years since the PMTT tramways. On one side in gold is the Prahran and Malvern Tramways Trust logo and the other "Celebrating 100 years 1910 - 2010". Made by C.R. Hose Cheltenham for Ron Scholten who organised the celebrations.trams, tramways, pmtt, crockery, glassware, centenary, celebrations -
Ballarat Tramway Museum
Domestic Object - Glass, C.R. Hose Cheltenham, c1980
... Domestic Object... Parade Ballarat Ballarat goldfields Glass Domestic Object Glass ...Has a strong association with the activities of the Ballarat Tramway Preservation Society and its sales activities during the early 1980's. Features tram 38.Glass - drinking - with gold rim and gold decoration, approx. 115mm high. Features tram 38 on one side with the words "Ballarat Tourist Tramway" under and on the other side a brief story of Ballarat Tramways. Made by C.R. Hose Cheltenham for the Ballarat Tramway Preservation Society. Two copies held.trams, tramways, btps, crockery, glassware -
Ballarat Tramway Museum
Domestic object - Colouring Book, David Frost and Peter Waugh, "The Ballarat Tramway Colouring and Activity Book", 1989
... Domestic object... Parade Ballarat Ballarat goldfields Colouring Book Domestic ...Sixteen page Colouring book - A4 size, formed from folded 4 No. A3 size sheets stapled together with eight drawings to be coloured in or other activities prepared by David Frost and Peter Waugh. Prepared originally in about 1988, placed on sale at the depot in 1989. The 2014 edition has a coloured, glossy cover including photographs. The pages have been redone using the original drawings by David Frost, and now includes information and history of the trams. Has drawings of California Combination tramcars, Toastrack trams, Bogie trams, One-man trams, a maze drawing for the horse tram, a join the dots drawing, decode this message, a mathematical problem, and a tram spotting guide. Copies on sale printed by Desktop Dynamics, Geelong. See also 2250 - Original colouring book 2250.1 - Brown Interoffice Envelope containing originals, letter from David Frost about reproductions, how many made, dates etc. Added 23/11/2010.tram, trams, btps, colouring book, sales items -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl
... Domestic object...Bowl Domestic object Bowl white ceramic plain that has two ...The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Domestic object - Jug
... Domestic object...Jug Domestic object Stoneware jug. Two tone brown glaze ...The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bread Board
... Domestic object...Bread Board Domestic object Bread board. Wooden, octagonal ...In the high tech, fast paced society that we live in, it’s easy to take some things for granted. Case in point: the wood cutting board on which you’ll probably be preparing the evening’s dinner. Have you ever taken the time to think about the history of the cutting board? Where did it come from, and what did ancient civilizations use to cut their meats, fruits and vegetables? Wood throughout the ages Since the dawn of time, wood has been one of the most available materials used by mankind to build tools and lodgings, so it’s not really surprising to know that wood has been used in the preparation of food since the prehistoric ages. Of course, back then, cavemen probably used an unpolished slab of tree trunk to cut the kill of the day on and they probably didn’t think twice about saving it once the meal was over. Chances are they probably threw it in the fire with the rest of the wood needed to kindle it. Advances in technology Throughout the centuries, mankind evolved and started creating machines from steam, electricity and metal. When the circular saw was invented, nicer, cleaner slabs of wood were cut and used as cutting boards. Since soft wood was the most available type of wood at the time, it was the material of choice for to be used for cutting boards. Boards were made smaller since the slab of wood could now be cut to any desired size. Since they were made smaller, they were also used to eat off of and some people referred to them as trenchers. Trenchers were originally pieces of stale hard bread that were used as substitute plates. Wood trenchers quickly became the replacements of the eatable dinnerware. The butcher block: the cutting board’s larger cousin In the industrial ages, many industries rapidly developed, and the butchery industry followed this trend as well. Before the invention of the cutting board, butchers used tree rounds to carve their meat on. The rounds were often too soft and they rapidly became unsanitary. Hard maple wood butcher blocks were the preferred choice of the industry. They were made to be extremely thick and durable, so durable in fact, that a butcher could use the same block for almost his entire career. Cutting boards around the world As cutting boards began to be more and more used in kitchens around North America, the rest of the world crafted such boards from different materials. The East used thick bamboo as their material of choice. Despite its frail appearance, bamboo is quite strong and made durable cutting boards and butcher blocks. Europe used maple in the crafting of their cutting boards while Persia used flat pieces of polished wood in their kitchens. The world then saw cutting boards that were being made from other materials like plastic and they came in all shapes and sizes, but they always served the same purpose, to provide a household with a safe, clean surface on which to prepare meals for their friends and family members. https://www.woodcuttingboards.com/news/quick-history-of-the-cutting-board-47.aspxThe bread board is an example of kitchen equipment used during Victorian times and similar to those used today.Bread board. Wooden, octagonal, plain sanded light wood. Has decoration around edge and indented circular line to delineate round cutting board section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bread board, cutting board, pastry board, kitchen utensil, kitchen equipment, baking equipment, food preparation -
Whitehorse Historical Society Inc.
Domestic object - Shaving Mug
... Domestic object...Shaving Mug Domestic object Silver plated shaving mug ...Silver plated shaving mug with lip on handle to hold shaving brush.A.J.McM|Phoenix Plate E.P.N.S.personal effects-toilet requisites, shaving -
Whitehorse Historical Society Inc.
Domestic object - Shaving Mug, Brush
... Domestic object...Shaving Mug, Brush Domestic object A Round bowl with green ...Shaving mug and shaving brush used by Bernhard Simmenauer of Prospect Hill Road Surrey Hills during 1950 - 1960.A Round bowl with green shading to dark green base and with an indent in handle as a rest for the brush. A Shaving Brush.personal effects-toilet requisites, shaving -
Clunes Museum
Domestic object - LAUNDRY MANGLE
... Domestic object...LAUNDRY MANGLE Domestic object Large green wrought iron ...Laundry equipmentLarge green wrought iron mangle with wooden rollers and metal pressure bar. Wheel to turn metal cogs to work rollers. Wooden shelf at base. Metal castors to maneuver into position.Trademark Wertheimlaundry, washing -
Kew Historical Society Inc
Domestic object - Galvanised Metal Bucket, 20th Century
... Domestic object...Galvanised Metal Bucket Domestic object Galvanised round ...Galvanised zinc buckets are used for a range of purposes in a household. This could range from holding wet clothes to removing ashes from a fireplace. They are common items, typically following a standard form.Galvanised round metal bucket with wider top than base, two riveted metal loops on rim for swinging metal handle. household equipment, functional items, buckets -
Kew Historical Society Inc
Domestic object - Galvanised Metal Bucket, Twentieth Century
... Domestic object...Galvanised Metal Bucket Domestic object Galvanised round ...Galvanised zinc buckets are used for a range of purposes in a household. This could range from holding wet clothes to removing ashes from a fireplace. They are common items, typically following a standard form. Galvanised round metal bucket with wider top than base, two riveted metal loops on rim for swinging metal handle. household equipment, domestic items, buckets -
Kew Historical Society Inc
Domestic object - Galvanised Metal Bucket, 20th Century
... Domestic object...Galvanised Metal Bucket Domestic object Galvanised round ...Galvanised zinc buckets are used for a range of purposes in a household. This could range from holding wet clothes to removing ashes from a fireplace. They are common items, typically following a standard form.Galvanised round metal bucket with wider top than base, two riveted metal loops on rim for swinging metal handle. buckets, cleaning equipment, domestic objects -
Lorne Historical Society
Domestic object - Whisky Bottle, Moggs Creek Whisky bottle
... Domestic object...Whisky Bottle Domestic object Moggs Creek Whisky bottle ...The Moggs Creek Moving Clickers Society wee responsible for perpetuating the hoax that Sir Samuel Moggs discovered Aireys Inlet before the arrival of the First Fleet. In 1959 they erected a statue to Sir Samual Moggs and also made this whisky bottle.Brown glass whisky bottle sealed with cork and red wax. The black and white printed label identifies it as Moggs Lighthouse , Very Old Matured Whisky dated 1763. Distilled by United Moggs Distillery Unlimited, Aireys Inlet Australia. moggs creek, sir samuel moggs -
Melbourne Legacy
Domestic object - Magnet, Lest we forget, 2022
... Domestic object...Magnet Domestic object Lest we forget Rectangular magnet ...A magnet used in a direct marketing campaign in 2022. The campaign was to encourage people to consider gifting money to Legacy in their will. A sample of merchandise that encourages people to never forget the sacrifice made by the ADF.Rectangular magnet with blue background and red poppy.bequests, marketing -
Rutherglen Historical Society
Domestic object - Soap saver, 1930-1939 (Approximate)
... Domestic object...-country Soap saver Domestic object Soap saver. A square wire ...Soap was fastened in basket, then it was agitated in water to obtain a soapy lather in which to wash dishes.Soap saver. A square wire basket, hinged with long handle and a clip. -
Rutherglen Historical Society
Domestic object - Tin Opener, 1900s (Approximate)
... Domestic object...-country Tin Opener Domestic object Cast iron tin opener ...Cast iron tin opener with handleName of Guard on handle -
Rutherglen Historical Society
Domestic object - Seive, c1920
... Domestic object...-country Seive Domestic object Wire kitchen sieve Owned and used ...Owned and used by Mrs Gwyneth CoxheadWire kitchen sievekitchenware -
Rutherglen Historical Society
Domestic object - Sieve
... Domestic object...-country Sieve Domestic object Wire mesh sieve with a blue plastic ...Owned and used by Mrs Daisy ParkinWire mesh sieve with a blue plastic handle, wire rests on rim. Wire mesh slightly crushedkitchenware -
Rutherglen Historical Society
Domestic object - Biscuit Forcer, 1920s
... Domestic object...-country Biscuit Forcer Domestic object Wooden Cylinder domestic ...Wooden Cylinderdomestic, food production, cooking -
Rutherglen Historical Society
Domestic object - Grater, Johnson & Johnson Pty Ltd, 1950-1960 Approximate
... Domestic object...-country Grater Domestic object White baby powder tin with orange ...Donated by Mrs Mercer, MaryWhite baby powder tin with orange trim and blue lettering"Johnson's Baby Powder. Economy Size, purest protection. Johnson & Johnson" -
Rutherglen Historical Society
Domestic object - Beater or whisk, 1930 (Approximate)
... Domestic object...-country Beater or whisk Domestic object Beater made of wire ...Donated by Mrs Parkin, Daisy & used by her in the early days of her marriageBeater made of wire with wooden handle, for domestic use -
Rutherglen Historical Society
Domestic object - Beater or whisk, 1930 (Approximate)
... Domestic object...-country Beater or whisk Domestic object Beater made of wire ...Donated by Mrs Parkin, Daisy & used by her in the early days of her marriageBeater made of wire, for domestic use -
Dandenong/Cranbourne RSL Sub Branch
Domestic object - Foot Powder, WWII
... Domestic object... Dandenong melbourne Foot Powder Domestic object Small Green Tin Foot ...unknownSmall Green TinFoot & Body Power 2oz.foot power, wwii -
Dandenong/Cranbourne RSL Sub Branch
Domestic object - Soap
... Domestic object... Dandenong melbourne Soap Domestic object Green, rectangular bar ...Soap likely distributed by the Commonwealth of Australia to those serving in the defence force.Green, rectangular bar of radiant cold cream soap."Radiant / Cold Cream" "C of A"soap, radiant cold cream, cold cream soap, military soap -
Dandenong/Cranbourne RSL Sub Branch
Domestic object - Bandage. First Field Dressing, March 1943
... Domestic object... Dandenong melbourne Bandage. First Field Dressing Domestic object ...Used WW11. 1939/1945.Dressing. in calico bag.Instructions how to handle gauze. -
Whitehorse Historical Society Inc.
Domestic object - Tablecloth
... Domestic object... Mitcham melbourne Tablecloth Domestic object Tablecloth, Ecru ...W. Gray was the president of the Whitehorse Historical Society, and this was the property of his wife Beryl Gray.Tablecloth, Ecru, Linen 84cm x 84cm; Handmade lace around the edge 62cm x 32cm deep lace across two corners.E Smythemanchester, table linen -
Whitehorse Historical Society Inc.
Domestic object - Tablecloth, 1890s
... Domestic object... Mitcham melbourne Tablecloth Domestic object Cream square ...Item donated anonymously to a teacher of the Australian Lace Guild. The lady who was about 80 years old said the lace originally belonged to her aunt who worked in a dressmakers in Flinders Lane in the 1930s where she acquired the pieces of lace.Cream square tablecloth edged in hand made tape lace with hand crocheted edge. Centre fabric has been replaced with fine organza and lace has been attached by hand. Design is flowers around centre and leaves around the outside.handcrafts, lacemaking