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Uniting Church Archives - Synod of Victoria
Book - Collecting book, Collecting book for the Wesleyan Missions
The book was given to an individual who was an accredited Collector of Subscriptions for carrying on the Missions of the Wesleyan Methodist Missionary Society. It contains an introductory letter from The Committee with instructions for the role and examples of how the book should be used.wesleyan methodist missionary society, wesleyan missions -
Kew Historical Society Inc
Functional object - Destination Roll, Melbourne & Metropolitan Tramways Board, 1960s
In an era predating the computerisation of equipment on public transport, where trams in Melbourne were driven by drivers and conductors sold fares, destinations were shown at the front and rear of the tram within a glazed box. A driver adjusted the roll to select each new trip destination. Given the length of rolls, in this case approximately nine metres, this could be a time consuming process. In addition to the named destination roll, each tram included a separate roll listing the route numbers.The roll was purchased at a Leski Auction in Armadale as part of a large group of tramways memorabilia including tram 'rolls' from New South Wales, Victoria, South Australia and Tasmania. The auction house described the collection as "The collection of destination blinds or rolls that forms the core of the Railways Trams & Buses Section (Lots 655 – 732) is the best we have ever offered and represents a life-time of collecting by an Adelaide enthusiast, now deceased." Melbourne & Metropolitan Tramways Board Tramways Destination Roll. Black and white paint on linen roll. Forty-eight named destinations including four depots - Camberwell, Hanna Street, Hawthorn, Kew. Multiple destinations in what is now the City of Boroondara (Kew, Hawthorn and Camberwell); including East Kew, Kew, Kew Post Office, Kew Depot, and Cotham Road.Named destinations beginning to end: “Olympic Park / Special / Football / Racecourse / Richmond / Burnley / Riversdale / Wattle Park - Warragul Rd / Wattle Park - Elgar Rd / City / Burwood / Hartwell / Bowen St / Camberwell Depot / Camberwell Jucn / Leura Grove / Gardener / Glenferrie Rd / Chapel St / St Kilda Rd / Camberwell / City / Lonsdale St / University / City via William St / Domain Rd / Hanna St Depot / South Melb & St Kilda Beach / Prahran / North Richmond / Windsor / Hawthorn Depot / Hawthorn / Spencer St / Toorak Rd / Swan & Church St Cnr / North Balwyn / City Flinders & Spencer Sts Corner / City - Market St / Swanston St / Simpson St / East Kew / Kew / Kew Post Office / Kew Depot / Cotham Rd / Malv Tn Hall"melbourne & metropolitan tramways board -
Vision Australia
Photograph - Image, Man collecting Clarke & Smith cartridges from shelves
Male handles Clarke & Smith talking book cartridges, placing one cartridge on a bookcase filled with numbered cartridges, whilst holding another two in his other hand. To the side of him is a cane basket that contains black mailing cases with silver reinforced corners and strapping. These cases were used to send the cartridges out to talking book clients. Behind the man is another bookshelf, with the two bottom shelves containing mailing cases, the next two Clarke & Smith cartridges and possibly Clarke & Smith tapetes and tapete mailing pouches on the top shelf. A metal fan hits on top of the bookcase.Digital image of man with audio book cartridgestalking books, library, royal victorian institute for the blind -
Vision Australia
Photograph - Image, Woman collecting talking books from library drawers
Female holds a cassette tape whilst looking at a sheet of paper in her other hand. The tape has been pulled from a cardboard box which has a reference number (eg: C90), a title and the sequential number (Side 5) listed on the front side of the box. Multiple boxes are nestled on wooden shelves, each with a black band that is attached below the box to assist in pulling them on and off the shelves. Books on cassettes were physically bulky and were stored separately for easy retrieval and return when borrowers were done. When a tape was dispatched, the requisite number of cassettes were removed and placed into mailing pouches for dispatch. Upon return, the cassettes were placed in individual boxes, that allowed staff to retrieve selected parts of a book if needed or incomplete books were returned. Underneath the image is written "Up to date talking book cassette library". Digital image of woman holding a cassette taperoyal blind society of new south wales, talking books -
Public Record Office Victoria
Document (item) - The 'Monster' Women’s Suffrage Petition
It took just six weeks in the spring of 1891 to collect nearly 30,000 signatures on the ‘Monster Petition’ for women’s suffrage. Dedicated suffragists collected an average of 5,000 signatures a week (over 700 per day) before the petition was presented to the Victorian Parliament in September 1891. The six-week drive proved the determination of the suffragists, and was one of first major steps along the road to 1908 and the achievement of women’s franchise. Now a prized possession of the State of Victoria, the petition itself was truly a ‘monster’, running 20 centimetres across and 260 metres in length. Several men were required to carry it into Parliament. Its sheer size and unique shape make it a marvel; a stack of paper with an equal number of signatures would not be nearly as impressive as the huge, winding roll presented to Premier James Munro. Quoted from the article ‘The “Monster Petition” and the Women of Davis Street’ by Brienne Callahan, in Provenance: The Journal of Public Record Office Victoria, issue no. 7. -
Surrey Hills Historical Society Collection
Laurie Young's autograph book pages, c1957
This is an incomplete record of those people who signed Laurie's autograph book. Most of the pages contain remembrances from members of Laurie's extended family however some relate to Mont Albert Central School where Laurie was a student. Those entries which are dated are from 1957. This is part of a large donation relating to the Young / Mair / Deakin families. In Europe autograph books have a history that can be traced back to 15th century university students. In Australia autograph albums were particularly popular towards the end of the 19th century, although there are known examples as far back as the 1830s. The increase in popularity coincides with printing and book binding becoming more affordable. Autograph books came in many sizes but were typically small with blank pages, usually in pastel colours. The books were often exchanged so the gathering of autographs was a very social pastime. Pages were filled with not only names, signatures and personal details but also poems, limericks, drawings, personal messages, small pieces of verse, and other mementos, such as pressed flowers, locks of hair and even embroidery. Although they could be very personal, unlike a diary they were meant to be viewed as part of the exchange. Autograph books from the 1950s may have a different focus. Although it remained common to collect the autographs of friends it was also highly desirable to collect the signatures of the famous, especially rock and television stars. Autograph books are of social relevance because they reflect the sentiment of the era of creation; they can also be reflective of social change, major political events or new inventions. Nine pages which have been cut from an autograph book. The pages are faded pink, blue and green in colour with a gold edge. All but one have inscriptions on one side only. laurie young, beryl young, ernest lance young, ernest augustus young, arthur john young, m w damiel, e s hall, c c mansell, autograph books, teachers, head master, mont albert central school -
Kew Historical Society Inc
Book, Longmans Green & Co, Collector’s Casebook, 1956
London : Constable, 1963 105 p. : ill. ; 24 cm. non-fictionbook collecting. -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, Late 19th to early 20th century
Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, captains chair -
Flagstaff Hill Maritime Museum and Village
Tool - Spirit Level, 1937-1955
Initially Elvicta was known as Elliot Lucas (hand tools)Ltd, and was established around 1937 based at 38 Summer Row, Birmingham. Around 1950 the firm relocated to Cannock, Staffordshire and by 1965 had moved again to their Church bridge Works also at Cannock. The Elliot Lucas Ltd Elvicta Cabinet and Tool factory as it was known employed over a hundred people and operated from the company's satellite works in Crickhowell southeastern Powys, Wales, near Abergavenny, in the county of Brecknockshire during the 1950s. The company manufactured a range of specialist pliers, nippers and pincers including the brands Elvicta, Electoy and Elect.A tool that is now regarded today as vintage, is collectable and highlights a time when tools were made by hand and how wood was predominately used to manufacture such items. It gives a snapshot of the time before the use of plastics and other synthetic materials which are now used to produce every day objects and tools such as this spirit level.Elvicta brand wooden spirit level made by Elliott-Lucas Ltd England. Level has two levels one vertical one horizontal . Has 2 brass corner protectors Has 530 marked on plate denotes model No and an original label 610 mm long x 60 mm x 30 mmflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Chisel, 1911 - 1970
Ward & Payne was founded in Sheffield by David Ward, an edge-tool manufacturer in 1803. The company had the name, David Ward. David Ward's son Edward joined the company around 1837 and the company name was changed to David Ward & Sons or David Ward & Co. Perhaps both names were used in succession it is unclear. Henry Payne appears as an edge tool maker in 1837 and joins the company before 1845. Perhaps he joined in 1837, as a result, this caused the name change to David Ward & Co. In 1843 Henry Payne registered the trademark name of Ward & Payne consisting of the crossed hammers above an anvil with W to the left and P to the right. Henry Payne became the junior partner in 1845 and died in 1850 and ownership of the company then reverted to the Ward family. After 1845 the firm built a large business in edge tools concentrating on carving tools, chisels, and gouges. Another David Ward (1835 - 1889), possibly the son of Edward Ward, took over the company in 1855 and was an aggressive young executive with the company before that. He grew the company's fortunes in both the sheep shearing scissor and carving tool businesses. The company grew and expanded its factory to a full city block and published a 501-page catalog in 1911. The company was still in business up to around 1970.A tool made by a well-known company and regarded today as a collector's item for those enthusiasts that collect vintage woodworking tools. However for further details regards provenance see the note in the provenance section this document.Socket chisel cast steel "Ward Cast steel" inscribed on blade flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hand tool, ward chisel, woodwork chisel -
Flagstaff Hill Maritime Museum and Village
Tool - Chisel, Ward, 1855 - 1911
Ward & Payne was founded in Sheffield by David Ward, an edge-tool manufacturer in 1803. The company had the name, David Ward. David Ward's son Edward joined the company around 1837 and the company name was changed to David Ward & Sons or David Ward & Co. Perhaps both names were used in succession it is unclear. Henry Payne appears as an edge tool maker in 1837 and joins the company before 1845. Perhaps he joined in 1837, as a result, this caused the name change to David Ward & Co. In 1843 Henry Payne registered the trademark name of Ward & Payne consisting of the crossed hammers above an anvil with W to the left and P to the right. Henry Payne became the junior partner in 1845 and died in 1850 and ownership of the company then reverted to the Ward family. After 1845 the firm built a large business in edge tools concentrating on carving tools, chisels, and gouges. Another David Ward (1835 - 1889), possibly the son of Edward Ward, took over the company in 1855 and was an aggressive young executive with the company before that. He grew the company's fortunes in both the sheep shearing scissor and carving tool businesses. The company grew and expanded its factory to a full city block and published a 501-page catalog in 1911. The company was still in business up to around 1970. A tool made by a well-known company and regarded today as a collector's item for those enthusiasts that collect vintage woodworking tools. However for further details regards provenance see the note in the provenance section this document.Socket chisel with 1 inch blade end of handle has been sawn off.Has "E" stamped on bladeflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hand tool, ward chisel, woodwork chisel -
Flagstaff Hill Maritime Museum and Village
Tool - Archimedean drill, Late 19th Century
The Archimedes drill, also known as a fretwork drill, is an old type of drill which works on the Archimedian principle; the drill rotates quickly as the barrel on the stem is worked up and down. This tool provides a quick and easy way to bore holes through ordinary fret wood and other substances, smaller versions are used in jewellery making where precision drilling is required. There were numerous different sized Archimedes drills made from various materials, usually a combination of wood and steel, some being all steel and some including brass parts. The fancier versions of these drills included parts made from Rosewood, Ebony, Ivory and decorative brass parts. Some of the later Archimedes drills had technological improvements such as a ratchet device and the inclusion of fly-weights. The ratchet device allows the drill to revolve continuously in the cutting direction. The fly-weights give momentum to maintain the speed of the drill during the upward stroke of the hand. Most old examples such as the subject item have no makers names.A vintage drilling tool that gives a snapshot into how holes were drilled by hand into small or delicate objects during the Victorian era. Tools from this time are today regarded as collectable items eagerly sought by collectors of antique tools. Archimedean drill with Rosewood hand, brass bearings, steel twist and wooden grip. Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, archimedean drill, archimedean drill with wooden hand, drilling tool -
Flagstaff Hill Maritime Museum and Village
Tool - Drill Brace, 1800s
The subject item is an early Victorian Scotch Brace with a 10-inch sweep. They were also known as a six penny or "gentleman's" brace and were designed to accept tapered square shank bits, early designs have a thumb screw to help secure the bit. Later designs had a catch to secure drilling bits. This type of brace was used in wagon making for boring & drilling holes into the wood for a variety of purposes, including driving screws. The subject item is unmarked but could have been made in Glasgow Scotland by John Fray in the 1800s, early drill braces of this type were often unmarked by their makers. A significant early example of a drill brace made in the UK during the 1800s demonstrates the evolution of this type of tool from this time that today is a rare and collectable example of woodworking tools.Brace metal with wooden handle. Has a screw in the holding socket item also has an auger bit. Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, brace, carpenders wheel brace, cabinet makers tools, drilling tool, wagon makers drill -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, Ca. 1855
The slim, green-tinged clear glass condiment bottle was possibly used for storing and serving sauce or salad oil. The handmade bottle would have had an applied lip. It has hand blown into a two-piece mould that finished just below the neck ring, with the rest of the neck and mouth hand blown. It was recovered from the wreck of the Schomberg. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This bottle is significant as an example of an item in common use in the mid-19th century. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes.Bottle; slim, round, clear, slightly green-tinged, glass condiment bottle, possibly for salad oil or sauce. Handmade bottle with a broken and missing lip and base. The neck is straight and plain down to a high horizontal neck ring. The neck then flares outward towards the shoulder with a vertical ribbed design, finished with a scalloped border on the top of the body. The body has straight sides. Side seams run from below the neck ring to the heel. The glass has imperfections, bubbles and an uneven surface. There is brown sediment on its shoulder. A long white plug is in the narrow part of the neck. The bottle was recovered from the wreck of the Schomberg.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, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, two piece mould, food bottle, oil bottle, salad oil bottle, sauce bottle, condiments bottle, neck ring, ribbed sides -
Flagstaff Hill Maritime Museum and Village
Gauging Rod, 1903-1938
The firm Dring and Fage were active from 1790 to 1940 in London and were manufacturers of hydrometers and mathematical instruments they became established in London in 1790 by John Dring, who was a brass worker and hydrometer maker, and William Fage. Dring and Fage manufactured also saccharometers and other instruments used to measure the strength of alcohol. These instruments were primarily used to calculate excises. They traded at various addresses in London and they were at 56 Stamford St. between 1903 and 1938. By 1850 the company was owned by Edward Hall and Edward Jenkin and in 1940 the company became Dring & Fage Ltd, trading till the 1960s. Historically, gauging has meant measuring a volume, these gauging instruments were used by Customs and Excise and manufacturers for determining the volume and contents of liquid containers. For Customs the determination and collection of duty on imported goods which has had a very long history. Chaucer was a Customs Officer as was his father and grandfather, excise was first officially introduced in 1643, with the aim of maintaining military forces raised by the English Parliament at that time. Excise was initially a duty on home produced alcoholic beverages and soap but being easily applied, spread rapidly to a wide range of goods including imports of varying kinds. The government departments of Customs and Excise merged only in 1909 and it is from around this time that our instrument was made and used. The item demonstrates a long social history of the practice of Government's collecting duty on alcoholic beverages and thereby makes this item historically significant as it was used locally at Port Fairy by the ports Customs agents. Gauging rod or bung rod; ullaging gauge. Long brown wooden gauging rod with brass tips and sliding brass marker. Measurements are marked along the length of the rod. Used for measuring volume of liquor in casks in order for Customs to calculate excise (tax) on the contents. Made by Dring & Fage, London.Engraved “Dring & Fage 56 Stamford St London flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, gauging rod, ullaging rods, measuring instruments, customs tax, dring & fage, alcohol measurement -
Flagstaff Hill Maritime Museum and Village
Ceramic - Serving Plate, Alfred Meakin, 1930s
J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Plate china white oval with a pattern inscribed along the edge Inscription to base "EMPRESS" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish -
Flagstaff Hill Maritime Museum and Village
Tool - Drill Brace, 1800s
The subject item is an early Victorian Scotch Brace with a 10-inch sweep. They were also known as a six penny or "gentleman's" brace and were designed to accept tapered square shank bits, early designs have a thumb screw to help secure the bit. Later designs had a catch to secure drilling bits. This type of brace was used in wagon making for boring & drilling holes into the wood for a variety of purposes, including driving screws. The subject item is unmarked but could have been made in Glasgow Scotland by John Fray in the 1800s A significant early example of a drill brace made in the UK during the 1800s demonstrates the evolution of this type of tool from this time that today is a rare and collectable example of woodworking tools.Drill Brace metal with socket and thumbscrew, varnished wooden head and handleNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, brace, carpenders wheel brace, cabinet makers tools, drilling tool, wagon makers drill -
Flagstaff Hill Maritime Museum and Village
Tool - Archimedean drill, Mid to late 1800s
The Archimedes drill, also known as a fretwork drill, is an old type of drill which works on the Archimedian principle; the drill rotates quickly as the barrel on the stem is worked up and down. This tool provides a quick and easy way to bore holes through ordinary fret wood and other substances, smaller versions are used in jewellery making where precision drilling is required. There were numerous different sized Archimedes drills made from various materials, usually a combination of wood and steel, some being all steel and some including brass parts. The fancier versions of these drills included parts made from Rosewood, Ebony, Ivory and decorative brass parts. Some of the later Archimedes drills had technological improvements such as a ratchet device and the inclusion of fly-weights. The ratchet device allows the drill to revolve continuously in the cutting direction. The fly-weights give momentum to maintain the speed of the drill during the upward stroke of the hand. Most old examples such as the subject item have no makers names.A vintage drilling tool that gives a snapshot into how holes were drilled by hand into small or delicate objects during the Victorian era. Tools from this time are today regarded as collectable items eagerly sought by collectors of antique tools.Archimedean drill with wooden grip and butterfly nut on chuck.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, archimedean drill, drill, fretwork tools, wood working tools -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding wood Plane, John Manners, 1792-1822
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings 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 workers to pull the plane ahead of the master who guided it. Company History: We know little of John Manners other than his firm was acquired by Alexander Mathieson & Sons in 1822, Mathieson were one of the leading makers of hand tools in Scotland at this time. 1792 was deemed by Mathieson & Sons to be that of its foundation and it was in all likelihood the year in which John Manners had also set up his plane-making workshop on Saracen Lane off the Gallowgate in the heart of Glasgow, not far from the Saracen's Head Inn. Alexander Mathieson (1797–1851) is recorded in 1822 as a plane-maker at 25 Gallowgate, but in the following year at 14 Saracen's Lane, it is presumed having taken over the premises of John Manners. The 1841 national census described Alexander Mathieson as a master plane-maker at 38 Saracen Lane with his son Thomas Adam working as a journeyman plane-maker, from 1822 we hear nothing regards what happened to John Manners.A vintage tool made by a known maker John Manners the item is a significant wood working tool from the late 18th century that today is quite rare. As this maker sold his business to Alexander Mathieson another collectable tool maker in the early 19th century. This item would be sought after by wood working tool collectors and it gives us a snapshot of how cabinet makers went about creating furniture during this time period. Wood Moulding plane Side Bead - Single Box type Stamped Manners (Maker) (also inside stamped GN, & W, M. Nicol also F W. probably owners of item over the years.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Orbost & District Historical Society
document, Celebration of the Orbost Signatures of the 1891 Women's Suffragette Petition, 2009
In 1891, Premier James Munro said he would introduce a bill into parliament for women's suffrage if it were demonstrated that ordinary women wanted this right. The Victorian Woman's Temperance Union and the Victorian Women's Suffrage Society took up the challenge, joining forces to organise a petition. Embarking on a door knocking campaign across Victoria they collected about 30,000 signatures in six weeks. The 'Monster Petition' is housed at the Public Records Office Victoria where a purpose-built perspex case protects the 260 metres of signed pages glued to sewn swathes of calico. (ref. Creative Victoria). In 2008 the petition was a centrepiece of the centenary celebrations of women's suffrage. This document was prepared for that centenary celebration.The Women's Suffrage Petition (1891) reflects the dedicated work of those women, who went from door to door across Victoria to collect the signatures. Its tremendous length earned it the name of the ‘Monster Petition'. This document is a useful research item.A stapled 9 pp document containing names, photographs, signatures of the Orbost women who signed the petition for Women's Suffrage in 1891.women's-suffrage-orbost -
Orbost & District Historical Society
match box cover, 1950-1960's
This was owned and used by J.G. Ralston of Orbost. 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) Collecting match box holders / grips was a popular hobby. They were made to fit over a box of matches for protection. Some were especially produced for significant occasions. This item is an example of a very common personal item rarely used today.A painted metal matchbox cover with a thin wooden matchbox inside. It is cream coloured with a picture of a cricketer being bowled out. In the top right hand corner is "OWZAT". The matches are Bryant & May's Crown Safety Matches. it is a rectangular cardboard box with a sliding cardboard drawer. The box has a paper label with text reading, "BRYANT & MAY'S CROWN SAFETY MATCHES" and an image of a crown. The top and bottom side has a purple striking paper, to light match. Bottom and sides of sliding drawer are a green color.J.G.Ralstonmatchbox-holder smoking-accessories ralston-j.g. -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, Late 19th to early 20th century
Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, smokers chair, bow chair -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, Late 19th to early 20th century
Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, smokers chair, bow chair -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, Late 19th to early 20th century
Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, smokers chair, bow chair -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, Late 19th to early 20th century
Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, smokers chair, bow chair -
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