Showing 6809 items
matching t-bowl
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Vision Australia
Photograph - Image, 1984 Carols by Candlelight stage, 1984
Black and white photograph of the Sidney Myer Music Bowl. Crowd scene at Carols by Candlelight. Bowl is to right of shot. Light in centre, shining towards camera.1 black and white photograph of Carols by Candlelight stageroyal victorian institute for the blind, carols by candlelight -
Port Melbourne Historical & Preservation Society
Domestic object - Clear glass with engraved SBC and decorative ferns
The history of this item is unknown. It has been suggested that SBC could be the initials of a person or could stand for an organisation such as Sandridge Bowling Club which was formed a year or two before the municipality, and the club, changed its name to Port Melbourne. It may stand for Sandridge Borough Council. The glass was donated to PMHPS by David GRAHAM, the last Town Clerk of Port Melbourne. David does not know the origin of the glass other than it was kept by a succession of Town Clerks at Port Melbourne Town Hall, to his knowledge going back to the 1970s. The glass is older than that and it is tempting to think that it could be from Sandridge Borough Council and has been kept by each Town Clerk of the municipality since the 1860s, 1870s or early 1880s. The truth may never be known.Clear drinking glass with a short stem and a flute-style bowl. The initials SBC are engraved on one side of the bowl and a decorative fern is engraved on the other side.domestic life - containers -
Mont De Lancey
Domestic object - Mixing Bowl, Hoffman, early 1900's
A mass produced unbranded domestic item used before 1950's.A vintage medium sized cream coloured stoneware mixing bowl with a pouring lip for cooking. It has three wide green stripes around the body of the bowl. 'Hoffman//9//Australia' printed on the base.ceramic bowl, kitchenware, cooking, mixing bowl -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
T-shirt
t - shirt white with logouniform, ran -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
T-shirt
Shirt T olive greenuniform, afghan, army -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
T-shirt
Neutral Colour T Shirtuniform, 2010, army -
Hand Tool Preservation Association of Australia Inc
Plane
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.plane, wood, T rabbett -
Hand Tool Preservation Association of Australia Inc
Square
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.square, small T metal -
Hand Tool Preservation Association of Australia Inc
Square
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.square, "T", cedar, drawing -
Hand Tool Preservation Association of Australia Inc
Square
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.square, "T", drawing, cedar -
National Wool Museum
Pennant
MELBOURNE VIC. THE SHRINE PRINCE'S BRIDGE MYER MUSIC BOWL MELBOURNE Victoriamelbourne, victoria -
Greensborough Historical Society
Glasses, Shire of Diamond Valley Commemorative glasses, 1994_
These glasses were distributed to commemorate the 30th anniversary of the proclamation of the Shire of Diamond Valley. The Shire of Diamond Valley was a Local Government Area located about 20 kilometres northeast of Melbourne. The shire covered an area of 74.38 square kilometres and existed from 1964 until 1994. A limited edition glass presented to community volunteers and others associated with the Shire of Diamond Valley.Pair of clear glass, stemmed wine glasses. Stem has spiral pattern.Etched into bowl "Shire of Diamond Valley 1964-1994" and shire coat of arms.shire of diamond valley, greensborough, commemorative glasses -
Cheese World Museum
Toilet set, ewer
Part of the Uebergang Collection. The ewer sits in a matching bowl and would have been used for ablutions in the bedroom. It has a matching bowl, soap dish and toothbrush holder..Large ewer with green rim and cream body decorated with swirling green stripes. The handle is green at the top changing to cream at the bottom. The interior is cream.1796.1uebergang, toilet sets, ablutions, bedroom sets -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
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 was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
Whitehorse Historical Society Inc.
Document - Report, Conservation analysis of 18 Gordon Crescent, Blackburn, 1995
18 Gordon Crescent Blackburn. A conservation analysis undertaken by Lois Routley for Dr Miles Lewis, Lecturer in Architecture. For titles accompanying this study see A-SP-T 13,A-SP-T 14, A-SP-T 15, A-SP-T 16. Includes detailed history of development of the area and occupants of the house.gordon crescent, blackburn, no.18, land subdivision, lewis, miles, woods, john, coppin, george seth, freehold investment and banking company of australia ltd, wolseley crescent, blackburn, blackburn, quarterman, martha, clarke, arthur e, game, kate, t. r. b. morton & son., game, thomas robinson, urquhart, finlay, newman, jeffrey william forbes, newman, valerie, jones, ian, jones, joan, strickland, kenneth william, strickland, wilma dawn -
Whitehorse Historical Society Inc.
Map, Plan of special survey selected by H. Elgar Esq, 1841
Photocopy of plan and listing of corner stakes.Photocopy of plan and listing of corner stakes. Note on verso: Plan of special survey selected by H. Elgar Esq in the Parishes of Boroondara and Nunawading, County of Bourke. Surveyed by T.H. Nott (?Sydney) 31 May 1841. Boroondara Special Survey B.17, with attached descriptive note by T. H. Nott.Photocopy of plan and listing of corner stakes. maps, parish of boroondara, parish of nunawading, elgar, h, nott, t.h. -
Warrnambool and District Historical Society Inc.
Lamp, Spirit Lamp, Early 20th century
This lamp has no known history. Lamps such as this one were for indoor use and were essential items in households in the 19th century and the first three decades of the 20th century until electric lighting became common in most households. This item has no known local provenance and will be useful for display as an example of a common household item of the past.This is a lamp with a glass base which is fluted and mostly coloured green. The bowl is clear glass with a concave raised pattern on the base of the bowl. The bowl contains a discoloured white wick. The lighting mechanism is brass with an external knob for controlling the use of the wick. The lamp mantle is bulbous-shaped. social history, history of warrnambool, kerosene lamp -
Montmorency/Eltham RSL Sub Branch
Case, Pistol, Patt. '37 W.E, 1940
This holster was copied by the Canadians from the British Pattern 1937 web equipment designed to hold the British .38 Calibre Enfield No.2 Mk 1 Revolver. Canada produced its own P37 webbing during WW2 and commenced production in 1940. Two companies produce the vast majority - Z L & T Ltd in Guelph, Ontario and M S & U Ltd (Montreal Suspender and Umbrella Manufacturing Company Limited) in Montreal, Quebec. A great deal of webbing was sent to Australia. These pistol cases saw much use by our troops during WW2 and holstered US Smith & Wesson 'Victory' model and various British Webley .38 revolvers in addition to Enfields.Khaki cotton webbing holster with press studded flap for a .38 calibre revolver. Webbing sleeve on interior for the cleaning rod and three brass hooks on the rear, two to allow attachment to a P37 web belt plus a top hook to permit attachment of a P37 web ammunition pouch. Z L & T Ltd (holster) UNITED CARR CANADA (snap fastener) -
Orbost & District Historical Society
butter mold
This butter mold is typical of the period when food processing was done at home. It would have been before the time of mass food processing factoriesA wooden bowl which uses the lid as an imprint plunger. The imprint is a floral design and has a long handle. The bowl has a hole in the base for easy removal of butter.butter-mould domestic food-preparation -
Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver rose bowl with three handles, gilt interior. Wire mesh cover mounted on decorative brown plastic base. Separate plate resting inside bowlCDFBA 4 MEN HOSE & REEL WON AT CRESWICK 1927kyneton fire brigade, kyneton volunteer fire brigade, fire brigade demonstrations, country fire authority, trophy, central districts fire brigades association -
Queenscliffe Maritime Museum
Domestic object - China crockery recovered from wreck of Light of the age
Subsequent to the wrecking of the Light of the Age marine concretions and corrosion products formed a cement capping over the cargo, stabilising and protecting it. The site of the Light of the Age was found by divers in late 1960s, and soon became a popular diving site. Huge amounts of intact crockery were removed from the wreck by boatloads of divers, including distinctive brown glazed teapots with legs (one diving author named it 'the Teapot Wreck' (Denmead, 1973: 78-82), 'Greek Key' patterned transferware, Cooper & Wood Portobello black glass three piece bottles, and sauce, preserve and condiment bottles often with contents (gooseberries, raspberries, olives) and seals intact. Larger items including a signal cannon and an anchor were removed from the site, while divers seeking souvenirs commonly used cold chisels to chip objects free of the concretion 'cap' which had stabilised and protected the remaining cargo for so long. In 1982 this situation was drastically changed when someone used explosives to further break concretions. However the charge was too powerful resulting in the site's complete destruction and the remaining items to become scattered and broken. Abraded and worn ceramic objects washed up on the beach are invariably collected by beachgoers, including fragments of crockery, figurines and animal figures used for 19th century household decoration and toys. The Light of the Age is archaeologically significant as the wreck of an international immigrant ship with an inward bound cargo. It is historically significant for its association with both the Black Ball and White Star Lines which carried thousands of immigrants to Australia. Built in 1855 and lost on 16 January 1868 now lies at Point Lonsdale Beach, half a mile west from Point Lonsdale, Port Phillip Heads.01- 1 shallow bowl, 02- 1 sweet bowl, 03- 1 willow pattern service dish, 04- 2 ladle cups [no handles], 05 06- 2 egg cups, 07- 2 bread and butter plates, 08- 1 condiment bowl lidWedgwood deep saucer; Pearl stone china, Ribbon, Wedgewood Willow Pattern service dish, Staffordshire Stone China, Fenton, No10shipwrecks, salvage, crockery, light of the age, clippers -
Whitehorse Historical Society Inc.
Domestic object - Wash Set
Six piece crockery personal wash set comprising large bowl, large jug, 3 piece soap set with bowl, perforated inlay piece and lid and small jug possibly for toothbrush. White China with pink and blue flowers and brown leaves. Wash bowl and jug.domestic items, ablutions, crockery -
Bendigo Historical Society Inc.
Decorative object - GLASS BALL (GOLD COLOURED) BENDIGO GLASS WORKS 1920 CASSIDY, KOONDROOK, EDNA PEACOCK, 1920
Bowl previously owned by donor's mother and father Mr and Mrs Cassidy of Koondrook. Mr and Mrs Cassidy (aged 25 and 22 respectively) were honeymooning in Bendigo on 18th March 1920 and obtained the bowl from the Bendigo Glassworks. This was passed on to their daughter Edna Peacock. Associated with the bowl is an article written by Jim Evans for the Bendigo Advertiser December 13th 2012 in his 'History Lives' column. The article illustrates the connection between Jannaya McKenzie (work experience student) and the bowl that was obtained by her ancestors. Glass Ball made by Bendigo Glassworks 1920 Approx. 20cm diameter with narrow neck (Broken) Interior is hollow and painted with what is purported to be gold dust. artwork, koondrook. edna peacock. -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Object, Mulga wood bowl, c1950
Mulga, is an Acacia shrub or small tree native to arid outback areas of Australia. It is light, easy to carve and has strength and durability It is commonly used for turned objects or small decorative items. The wood is dark brown with yellow bands and polishes well. Traditional uses included spears, clubs and boomerangs. George Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th CGeorge Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th C and used this Mulga wood bowl in his officeA souvenir Mulga wood bowl with metal aeroplane on the lidearly settlers, market gardeners, wood carvers, souvenirs, mulga wood, acacia trees, boomerangs, vases, post world war 2 estates, bentleigh, mckinnon, highett, cheltenham,south australia, victoria,reed george, reed gladys, clark judy, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured objects, wood from SS 'Hygea', c1940
Bowl and lid made from the wood of the SS 'HYGEA' Plate ' MADE FROM / THE WOOD OF / THE SS HYGEA -
Bunjil Park Aboriginal Education & Cultural Centre
Coolamon Dish, This item is made by taking bark from the tree, soaking it to make it pliable then shaping into a curve then direid slowly over heat to set the shape
This type of implement is used to gather food or if large enough, to carry a baby. The size of this item suggested it could have been used for either purpose. This is a women s implement.A bowl shaped dish, decorated with a witchety grub design.Witchety grub motive characteristic of the Central Desert tribes.coolamon dish, aboriginal wooden implements, central desert tribes. -
Flagstaff Hill Maritime Museum and Village
Domestic object - Pudding Mould
One of the first documented mentions of pudding can be found in Homer's Odyssey where a blood pudding roasted in a pig's stomach is described. This original meaning of a pudding as a sausage is retained in black pudding, which is a blood sausage originating in the United Kingdom and Ireland made from pork or beef blood, with pork fat or beef suet, and a cereal. Another early documented recipe for pudding is a reference to asida, found in a tenth century Arabic cookbook by Ibn Sayyar al-Warraq called Kitab al-Ṭabīḫ (Arabic: كتاب الطبيخ, The Book of Dishes). It was described as a thick pudding of dates cooked with clarified butter (samn). A recipe for asida was also mentioned in an anonymous Hispano-Muslim cookbook dating to the 13th century. In the 13th and 14th centuries, in the mountainous region of the Rif along the Mediterranean coast of Morocco, flour made from lightly grilled barley was used in place of wheat flour. A recipe for asida that adds argan seed oil was documented by Leo Africanus (c. 1465–1550), the Arab explorer known as Hasan al-Wazan in the Arab world. According to the French scholar Maxime Rodinson, asida were typical foods among the Bedouin of pre-Islamic and, probably, later times. In the United Kingdom and some of the Commonwealth countries, the word pudding can be used to describe both sweet and savoury dishes. Unless qualified, however, the term in everyday usage typically denotes a dessert; in the United Kingdom, pudding is used as a synonym for a dessert course. Puddings had their 'real heyday...', according to food historian Annie Gray, '...from the seventeenth century onward'. It is argued that 'the future of the boiled suet pudding as one of England's national dishes was assured only when the pudding cloth came into use' and although puddings boiled in cloths may have been mentioned in the medieval era, one of the earliest mentions is in 1617 in a recipe for Cambridge pudding, a pudding cloth is indicated; 'throw your pudding in, being tied in a fair cloth; when it is boiled enough, cut it in the midst, and so serve it in'. The pudding cloth is said, according to food historian C. Anne Wilson, to have revolutionised puddings. 'The invention of the pudding-cloth or bag finally severed the link between puddings and animal guts. Puddings could now be made at any time, and they became a regular part of the daily fare of almost all classes. Recipes for them proliferated.' https://en.wikipedia.org/wiki/PuddingPuddings and pudding making have evolved over the years, and continue to do so. White ceramic pudding bowl with fluted decoration on the outside.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, puddings, ceramics -
Orbost & District Historical Society
bowl
Owned by Alexander Cameron who arrived in Australia in 1853. Alexander Cameron ("Big Alex") was an early settler on the Snowy River flats. he worked the paddle steamer Cheviot for a while, having a wharf and sheds on the Snowy River in 1900. Later moved to Cann River. The Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). (info. Margaret Smith)Alec Cameron was a prominent early Orbost settler. The Orbost Bowling Club was established in 1929.Wooden lawn bowl with wooden circles on top and bottom. Top- I Bottom - J.R.22recreation sport lawn-bowls cameron-alexander -
Anglesea and District Historical Society
Bowl, Alfred Meakin (Tunstall) Ltd, Royal Albert & Newfield Potteries
Small bowl-dish with rim. Brown daisy pattern.Glo-White-Ironstone / crown symbol / Alfred Meakin / Englandplate, bowl, meakin -
Nhill & District Historical Society Inc.
Award - Trophy: Rose bowl - St. Georges Badminton Club 1959
Rose bowl - St. Georges Badminton Club 1959st. georges badminton club, nhill - sporting clubs, sporting groups