The Orbost Football Club began in 1894. This photograph shows the 1954 team. The Orbost football club players were known as the Busters and wore green and gold guernseys. An Orbost football team has participated in the East Gippsland League since the early 20th century. The East Gippsland Football League in its present incarnation began in 1974 with the merger of the Gippsland Football League and the Bairnsdale District Football League .In 2003 in response to a dwindling population, the Snowy Rovers and Orbost Football Clubs were driven to merge into the Orbost Snowy Rovers Football clubs, through their many changes, have always been an important social fabric of the community. Sport is often regarded as an important part of life in rural Australia, contributing to community identity, sense of place, social interaction and good health.A black / white photograph of three rows of men wearing sports uniforms (players) and seven men in suits (officials). The fornt row is seated on the ground, the middle row on seats and the back row is standing with arms folded. a man in front row left has a case / box with the club emblem facing the camera. on back - a typed list of names and history of formation of League.sport-football orbost-football-club recreation clubs-orbost

The British Empire Exhibition was opened by King George V on St George's Day, 23 April, 1924. Its official aim was "to stimulate trade, strengthen bonds that bind mother Country to her Sister States and Daughters, to bring into closer contact the one with each other, to enable all who owe allegiance to the British flag to meet on common ground and learn to know each other". The Exhibition was also the first occasion for which the British Post Office issued commemorative postage stamps Many souvenirs were made to commemorate the exhibition. This tea caddy, produced by Lipton's, includes the exhibition's official mark of the stylised lion designed by F. C. Herrick.This item is a souvenir of a historic event which took place in the first half of the 20th century.A Lipton's souvenir brass tea caddy from the British Empire Exhibition of 1924. The lid fits on to form a sphere. It has a knob on the top"Lipton" on bottom. "Lipton's souvenir tea caddy British Empire Exhibition 1924" on top. A lion on the side.souvenir container tea-caddy lipton-thomas british-empire-exhibition

This souvenir wine glass was made for celebration of the centenary of the Orbost Football Club in 1994. The Orbost football club players were known as the Busters and wore green and gold guernseys. An Orbost football team has participated in the East Gippsland League since the early 20th century. In 2003 in response to a dwindling population, the Snowy Rovers and Orbost Football Clubs were driven to merge into the Orbost Snowy RoversOrbost Football Club through its many changes has always been an important social fabric of the Orbost community. Sport is often regarded as an important part of life in rural Australia, contributing to community identity, sense of place, social interaction and good health. A clear wine glass produced for the centenary of the Orbost Football Club -1894-1994. On an oval (representing a football) is O F C with "ORBOST FOOTBALL CLUB" in a banner above and "CENTENARY YEAR 1894 -1994" in a banner below. all written in gold. On an oval (representing a football) is O F C with "ORBOST FOOTBALL CLUB" in a banner above and "CENTENARY YEAR 1894 -1994" in a banner below. all written in gold.souvenir wine-glass orbost-football-club

This book was produced as a project for the 1915 ANZAC centenary. The book became too unwieldy and was then divided into written information and a CD with the details of each man - name; rank; service number and unit. Almost 2500 names have been traced. For current Australians, the Anzac Centenary is one of the most significant commemorations to take place during their lifetime. It was a time to contemplate the legacy of those who served in World war 1 and those who never returned to their families or friends. This book records that time and especially honours those from East Gippsland.A paper back book, titled "East Gippsland's ANZACS a tribute to those who served in World War 1". On the front cover is a sepia photograph of "Thirty East Gippsland Boys" taken in early 1916 during training at Heliopolis (Greece) before embarkation for France. The book contains a selection of stories from those who served, along with a CD of the names and service records of all of those known to have enlisted from East Gippsland.anzac ww1 military-history--east-gippsland

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This bookis part of the collection of items given into the care of the Cheese World Museum. History of the local Allansford charge (group of churches) marking its Diamond Jubilee. The booklet details people and places connected with these churches during that period and contains a number of photographs of early church people.Booklet with grey card cover within a striped border and title and logo of the Presbyterian Church printed in blue. Full title is 'The Kirk at Work in the Allansford Charge. Jubilee History 1862-1932. He hath not left himself without witness'. Motto reads 'Nec Tamen Conservata' -the burning bush that is not consumed.allansford, uebergang, presbyterian church, wangoom, mepunga, nirranda

A comedy surf film featuring Tom Carroll, Kong Elkerton, Bryce Ellis, Mark Sainsbury, and Ross Clarke-Jones as the Wiz. The Wiz stumbles on an old book about making your own wax and mixes a batch which magically transports him and his friends to some of the world's best surf spots. Music by popular Australian band GANGgajangMAD WAX had a national theatrical release in 1987. The film was shown at surf clubs, pubs and other surf film related venues during this period. The film is significant for the surfers who appear in the film (2 time World Champion Tom Carroll) and the 'loose' narrative thread which was common place in many surf films during the eighties. The film features Mark Sainsbury a popular professional surfer from New South Wales who suddenly died of a brain anueryism on 6th AUgust 1992. The poster and cover art for the VHS case were done by noted Quiksilver designer/artist Peter Webb. MAD WAX had its World Premier at the Enmore Theatre, Enmore, New South Wales on Saturday 28th February, 1987. The screening was accompanied by a live performance by GANGgajang whose music appears on the film soundtrack.VHS Surf film released by Quiksilver in February 1987. Colour cover art featuring a colour photograph of Gary Elkerton, one of the stars of the film.QUIKSILVER Presents. Cover art by Peter Webb (Quiksilver) Quiksilver logo.surf, quiksilver, wax, gangajang

A Neil Robinson stretcher is a lightweight carrying device modelled on Japanese bamboo litters, the Neil Robertson rescue stretcher was developed in the early 1900s by John Neil Robertson. Used for lifting an injured person vertically. The stretcher is made from stout canvas reinforced with bamboo slats. The stretcher is designed for removing an injured person from spaces wherein access, doors or hatches are too small to permit the use of regular stretchers. Spaces such as ship engine room spaces, cargo holds, pump rooms, boiler rooms etc. are a few examples of such compact spaces.An item designed to transport injured personnel from tight places, either at sea or on land.A rescue stretcher made from white canvas reinforced with bamboo slats and adjustable canvas straps. The canvas straps are secured with metal buckles and there is a metal ring attached to lengths of ropes at both ends. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, stretcher, neil robertson, neil robertson rescue stretcher, rescue equipment

The container could be amongst personal effects as luggage or in a home, used for storing small items.It is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Wooden container, round shape, with lid. Container shows evidence of wood turning inside. Decorative painted flower design flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, jar with lid, wooden jar, personal effects

Item believed to be of modern creation used to augment a room display A modern item produced after 1950 that is not associated with a historic event, person or place therefore is regarded as having no significance for Flagstaff Hill museum collectionPhotograph of coastal scene in dim light. Frame is dark wood with gold edging around photograph. Inscription. Marked A. Wilkins.Marked, bottom right; "A. Wilkins"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sea scape, a. wilkins

This set of pots represents the type of pot or saucepan used on an open range wood fired stove. The pots are heavy and thick, and have a solid lid suitable for slow cooking.This pot set is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Pots; two cast iron pots with lids. Wooden handles on pots have ring on end for hanging. Pots have inscriptions. The large post has the capacity of 3 quart (3 quarts or 2.84 litres) and the small pot holds a capacity of 2qt (2 quart or 1.89 litres). Stamped on large pot "Made in Taiwan" "3qt" Stamped on small pot "Taiwan" and "Sauce Pan 2qt"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, pot, saucepan, sauce pan, cooking pots, cook ware, food, slow cooking

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown salt glaze stoneware bottle None (possibly made by Royal Doulton UK)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, bottle, stoneware bottle, storage, kitchen ware, salt glazed, stoneware, shipwreck coast

A mass produced hand made bottle made for containing sparkling wine no history or manufacturing provenance currently available.The bottle is a good example from the mid-to-late 19th century. At this time cannot be associated with an historical event, person or place, provenance is unknown.Bottle, dark green glass cork in neck flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bottle, green glass bottle

1813 Joseph Goddard was born in Market Harborough, Leicestershire in1830s and he always held a deep appreciation for beautiful silver. As a chemist and county analyst in Leicester, J. Goddard was frequently called upon to assay fine silver owned by England's wealthy families. Joseph Goddard's career altered when, after the discovery of electroplating, silver-plate became affordable to the average English home. The initial excitement of those who bought new silverware, however, soon turned to disappointment because the commonly used mercurial silver polish ate away the thin-layer of silver-plate. Joseph Goddard was sure that there must be a way to clean tarnished silverware without spoiling the finish then In 1839, and after many unsuccessful attempts, he finally perfected a silver polish that would safely remove tarnish from even the thinnest plated silver. Goddard's Non-Mercurial Plate Powder was introduced and the fame of Plate Powder quickly spread. Goddard's powder became so much in demand that it was soon marketed through other retailers. In 1877 Joseph Goddard died, and his son, also called Joseph, joined the business, followed, in turn, by his son and grand son. All of them expanded the business to produce a range of other polishes. 1885 Goddard's products won six gold medals for excellence at the American Exposition.An interesting history for an everyday item that even today is in use around the world and that we take for granted. The item gives a snapshot into how a product can be developed by shear perseverance by someone who believes there must be a better way of doing a particular task. However this example of Goddard's polishing powder container cannot be associated with an historical event, person or place.Container of Goddard's Plate Powder for polishing silverwareGoddard's Plate Powderflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, goddard's plate powder, goddards, silver polishing

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance and origin of manufacture is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past. Stoneware jug badly cracked and repaired with handle and short neckNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, earthenware jug, kitchen storage

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthenwares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown Stoneware jug with short neckThe number "1" under neck flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, salt glaze

Handmade decorative wall hanging, possibly made in the late 19th or early 20th century.Pictures like this handmade example of 9th or 200th century craftwork were often used as decorative wall hangings in the home. Currently there is no connection of this work with people, places or historic events.A picture with a small black and white print of a country landscape and house mounted on embroidered and beaded yellow fabric.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, embroidery, landscape scene, beading

This mug was made by Reinhold Merkelbach. Reinhold Merkelbach was founded in 1845 by Wilhelm Merkelbach, a descendent of a long line of German potters, and the company eventually took the name of his son Wilhelm Reinhold Merkelbach, who left school early to get involved with the family business. The company became a major name in German ceramics, especially in the Jugendstil style. The company produced a large number of collectable beer steins in the late 18th and early 19th centuries, including a number of so-called “character steins.” In 1882, the firm began producing art pottery, which at that time was enjoying a revival and new appreciation in Europe in general and in Germany in particular. Reinhold Merkelbach produced ceramic objects both with and without pewter hardware but rarely altered its manufacturing techniques. Many of its products were destined for use at pubs, bars, or breweries as well as in the homes of Germany’s beer-drinking populace. It had a retail location in Munich and also sold products through its factory warehouse. In 1971, half of the company’s ownership was sold to W. Goebel KG and the firm’s name changed officially to Merkelbach Manufaktur GmbH & Co. KG. Goebel ultimately purchased the other half of the business before members of the Merkelbach family, along with a handful of collectors and former staff members, repurchased the factory in 1988. In 2007, Judith Merkelbach Engelmann decided to close the firm; demand for ceramics had been decreasing and the next generation of the family had no interest in maintaining the business. Luckily, Reinhold Merkelbach transferred its moulds to Töpferei Girmscheid Höhr-Grenzhausen to ensure that its best-known pieces of Jugendstil art pottery and steins would continue to be available to interested consumers and collectors.This beer stein was made around the mid-20th century by a popular German maker. It fits in with the context of maritime village life. At this current time, there is no particular connection with people, places and events. The German beer stein is made from ceramic ironstone. It has a bell-shaped hinged pewter lid with a leaf-shaped thumb lever. The lid has a pattern stamped on it. The design on the mug includes a woman in bright colours, a man holding a musket, and buildings in mountain settings. There are inscriptions on the mug. Marked "Made in Germany" "RM" "4070" (underside of mug) "05" to the side of mug flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, beer stein, ceramic beer stein, reinhold merkelbach, drinking vessel

The stamp on this bench depicts a sheep hanging from its waist. This logo is on the Warrnambool City's coat of arms. It is also on the Bank of Australasia's coat of arms. However, there is no further information about the history of tis bench is currently available, it is believed to be homemade from around 1950s.Item at this time cannot be associated with an historical event, person or place, provenance is unknown.Bench, wooden, painted black. Made of planks. Inscription stamped onto wood.Depicts an imprint of a sheep hanging with back mid section. The words "Highly Inflammable" "H" (section missing) "GH"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, wooden bench, bench made of planks, bench, workbench, hanging sheep logo, suspended sheep

The design of this pair (RN 758 & 759) is based on Thonet’s No. 18 chair, which was originally produced in 1876 by Thonet, and is still one of the best-selling designs for café and restaurant owners. It is elegant, sophisticated and durable. The label notes the design as “AUS MASSIV GEBOGENEM HOLZE vorm” which translates to “solid curved sandals shape”, a good description for the back of the chair. The chairs have marks, paper labels and symbols on them that show that the maker was Harnisch & Co., Neuschler (also called Banská Bystrica) Furniture Factory in Neuschol (Beszterczebanya), Hungary, privileged makers for the Imperial and Royal Austrian-Hungarian Empire 1867 – 1918. Bentwood chairs are made by a process of wetting wood in water, bending it into curved shapes, then allowing it to dry so that the shape becomes permanent. This process originated by Michael Thonet, who had been given the right to bend wood into desired curves by the Austrian Courts in 1842. In 1856 he was granted a 13 year patent to manufacture chairs and table legs of bent wood treated by steam or boiling water. In 1859 his company Gebruder Thonet produced his original design. Thonet’s early designs also featured hand carved or laminated wooden seats. His Model No. 14 produced in the 1850’s, was his most popular design. After Michael’s death in 1871 the family went on designing and producing chairs. The No. 18 chair was produced in 1876, one of a group of chars with back inserts consisting of curves and loops of bentwood. These bentwood chairs are believed to be associated with the either the original Warrnambool Town Hall or the Toc H Group in Warrnambool. The Warrnambool Town Hall played a significant role in the both the local government and the social events of local and district areas. It was a place for Council meetings, community events and entertainment, theatrical and musical.Chair, bentwood, 'French Bistro Chair' with a floral pattern carved in seat. Backrest has inverted U shape inside that extends to the seat. Supports on either side of backrest's base join to back of seat. Legs have a wooded bracing ring. Marks are embossed into rim under seat. Paper label, cream with black print, on rim; Right side of label has the symbol of Heraldic Shield. Text on label. Made by NEUSOHLER FABRIK FUR MOBEL, AUS MASSIV GEBOGENEM HOLZE, vorm. HARNISCH & Co, NEUSOHL (BESZTERCaZEBANYA) UNGARN ' Hand written under seat "T H" in black paint, "T H " in white chalk.Marks; pressed into rim under seat is "3", and "Crown [over] (N)", Paper label, cream with black print, on rim; Left side has Mark “N inside circle under crown”. Right side has symbol of Heraldic Shield. Text on label “Trade – K.u.K.- Mark / NEUSOHLER FABRIK FUR MOBEL/ AUS MASSIV GEBOGENEM HOLZE, vorm. HARNISCH&Co / NEUSOHL (BESZTERCaZEBANYA) UNGARN ' Hand written under seat "T H" in black paint, "T H " in white chalk. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bentwood chair, café chair, restaurant chair, thonet design chair, neusohler fabrik fur nobel, k.u.k. approved manufacturer, hungry, harnisch & co, k.u.k., public hall chair, toc h

A dead eye is a part of a vessel’s rig On board sailing ships, dead eyes were used in three different areas. Traditionally dead eyes are made of wood but they have different forms according to where they were used in the vessel rigging. The most common type of dead-eye is flat, with three holes and was used to tension the shrouds, the heavy lines which steadied the masts on each side. Each shroud had a dead eye at the lower end, which corresponded to a similar dead eye attached to the side of the ship. The two were connected with a rope called a lanyard, which was used to tighten the assembly. The stays, heavy lines running forward from the masts, were also tensioned with dead eyes. These are much larger and rectangular, with four or six holes. The third type of dead-eye was a two-holed version attached to an eye at the end of the parallel, which tied a yard to the mast. The loose ends of the parallel rope passed through the dead eye and then down to the deck, making it possible to tighten or slacken the parallel from the deck so that the yard could be more easily manoeuvred. It was especially important for the mizzen yard, which had to be shifted from one side of the mast to the other when tacking the ship.An item used on sailing ships rigging this item of ships equipment and its use has been used from the beginning of the invention of sailing ships going back to ancient times. Its use on sailing vessels had not changed in design or use until they went out of fashion and steamships took their place.Circular wooden ships rigging dead eye with three holes Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel rigging, dead eye, sailing equipment

A mass produced utilitarian item believed to have been made for domestic use in the Stoke-on-Trent area of England, no history or manufacturing provenance currently available makers mark unable to be identified at this time. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps. All this adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is undetermined, item assessed as a collection asset given it was produced before 1950.Toilet article container base, porcelain with blue decoration on white backgroundRd No 58105 (year 1911) Orchid W.& W. on baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, toilet container base, toilet article, grooming article

This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance regards manufacturer is unknown, item assessed as a collection asset as it is believed to have been produced well before 1950.Container for toiletries. Lid and base. Cream porcelain with red floral decoration. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object

Iron beds made from metal or wrought iron have been around since the late 18th century when they were hand made by craftsmen and artisans. The iron castings were always hand poured and originated from sand cast molds, more ornate beds are associated with the Victorian period. Later in the Edwardian era cast iron beds and cots had much less decoration and were quite plain .An relatively early domestic piece of furniture used as a babies cot giving a snapshot into domestic life around the end of the 19th century and beginning of the 20th. The item is not associated with a significant event, person or place and would have been common place in most homes of the time made by many different manufactures.Cot, metal, with chrome knobs and removable sides. Has wheelsNoneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cot, metal cot, iron bed

This picture is an inexpensive item made for domestic decorative use. This picture is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Picture in a gilded frame behind glass. Print of a man, dog, and two horses in a barn. Print is on grainy paper.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, print, wall decoration, art, farm scene

This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Ceramic rectangular box body has with fine brown line floral design with protruding wedge ends. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, decorative object, ceramic, ceramic box

An unusual item believed to have been made by carving from a solid piece of sandstone for domestic use no history or manufacturing provenance currently available item could have been made as a one off.The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Sandstone cooler round barrel shape. 2 equal sections. Top section has small wooden knob for lifting.Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cooler, kitchen ware, sandstone cooler, kitchen item, ice bucket

None currently availableItem at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset.Candle stick holder, enamel corrugated bowl shaped dish with no handleBlue and white abstract mottle patternflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, candle holder, candle stick holder, lighting, enamelled candle holder

A mass produced unbranded utilitarian item made for domestic use no history or provenance currently available, design indicates item made before 1950Item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as made prior to 1950.Stoneware mixing bowl round cream with pouring lip and decorative scallop relief around bodyNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, bowl, ceramic bowl, pouring bowl, kitchen ware, cooking ware, ironstone bowl, salt glazed, mixing bowl

Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.A mid to late 19th century ironstone jug with no makers markings only a date letter therefore at this time cannot be associated with an historical event, person or place, provenance regards maker is unknown, item assessed as a collection asset given it was produced before 1950.Jug, white Earthenware with leaf decoration around the base, handle and lip.Letter "E" date mark for 1881flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, ceramic jug, drink ware, kitchen ware, table ware, ceramic, pottery, milk jug, cream jug, ironstone jug

Lusterware is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence. The technique on pottery was first developed in Mesopotamia (modern Iraq) in the early 9th century. It is produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", or a reduction kiln, excluding oxygen. The Lusterware effect is a final coating applied over the ceramic glaze, and fixed by a light second firing, applying small amounts of metallic compounds (generally of silver or copper) mixed with something to make it paintable (clay or ochre). This is then fired in a reducing atmosphere at a temperature high enough to "soften" the glaze from the first firing, and break down the metallic compounds, leaving a very thin ("perhaps 10 or 20 atoms thick") layer that is fused with the main glaze, but is mainly metal. Lusterware normally only uses one colour per piece, and the range is limited a "gold" derived from silver compounds was historically the most common. The process has always been expensive and rather unpredictable, always requiring two firings, and often the use of expensive materials such as silver and platinum. The very thin layer of luster is often delicate, and many types of Lusterware are easily damaged by scratching removing the metallic layer, or by contact with acids. Lusterware has therefore always been for display and occasional use, although by the 19th century it could be relatively cheap. Many pieces show the luster effect only working correctly on parts of the surface, or not at all. An item probably made in Staffordshire UK where this type of pottery was popular in the late 19th century by unknown pottery as the subject item has no marks. The teapot at this time cannot be associated with a historical event, person, or place, provenance regards manufacture is unknown, item assessed as a collection asset given it was produced before 1950.Teapot ceramic ornate copper lusterware abstract floral design handle has a protruding sculptured bird for thumb grip. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, tea set, kitchen ware, ceramic, lusterware, pottery, staffordshire uk, pottery finishes