The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is a scoop or large bowl at one end for the material to be weighted and a flat platform at the other end that holds the weights. Around the cast iron base is an embossed strip weight and bowl missing.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

William Abendigo Thompson was English bare-knuckle boxer born in Nottingham, 1811- 1880 and whose name is (allegedly) borne by the City of Greater Bendigo. One of 21 children he started fighting aged 18 and began prizefighting aged 21. His career spanned from 1832–50, and is said to have lost only one fight. Later in life, after spending time in prison he became a Methodist evangelist preacher. While the artist and date of production of this work are unknown the initials JJLh (or n?) are just legible lower right on canvas. Other clues for an approximate date of creation include the similarity in composition of this painting to a popular aquatint of Bendigo by Charles Hunt Senior (1803 - 77). Based on the markings on the back of the canvas for Rowney and Co and the address given, we can ascertain that the canvas itself was manufactured between 1884 - 1896. The painting also includes an extract of the Conan Doyle poem 'Bendigo's Sermon' which was written in 1911. Given these three factors, a date for the painting can be surmised as post 1911. Stretched made by George Rowney’s is one of very few artists’ supply businesses with origins in the 18th century still trading today, as Daler-Rowney, albeit no longer in family hands. The business has been a significant supplier of canvases and panels from the 1810s. Naive, Primitive, British0348.1 Framed oil painting of the bare fisted knuckle fighter William Abendigo Thompson painted in a naïve style. Depicts Thompson, bare chested in an outdoor fighting ring with his fists raised with a water bucket at this feet. 0348.2 Typed note re the history of the naming of the City of Bendigo.Top centre front of painting; You didn’t know of Bendigo? That knocks me out! Who’s your board school teacher? What’s he about? Chock a block with fairy tales – full of useless cram And haven’t heard o' Bendigo the pride of Nothin’ All sing along together lower centre painting; William Abendigo Thompson centre Inner wooden frame; bendigo back of canvas; Geo. Rowney & Co 64 Oxford Street and Princes Ball Piccadilly London W sticker lower centre back of frame; donors name and address. Initials illegible lower right.city of greater bendigo sport

This cannon ball could have been made as ammunition to be shot from a 24-pounder gun, perhaps a deck cannon or Carronade on a sailing ship. It is similar to those used by both British and French navies from the late 18th and 19th centuries. The iron cannon ball shows the casting mark around its circumference made by the mould during the casting process. The cannon ball is an example of ammunition used during naval conflicts in the late 18th and 19th centuries. It was made for cannon or Carronade similar to those in the collection of cannon at Flagstaff Hill Maritime Museum.Cannon ball; a heavy black iron ball with a casting seam around its circumference. The surface is shiny with many pits and has slight corrosion. There are several chips including one large deep chip and a small, crescent shaped chip. The cannon ball’s size is similar to a cast iron 24-pounder shot.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, artillery, ammunition, cannon ball, shot, 24-pounder, 24 pdr, deck cannon, ship cannon, military, cannon, gun, iron ball, moulded ball, naval gun, deck gun, navy, carronade, war, maritime weapon, cast iron, mould

The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. Toby jugs date back to the mid-1760s in Staffordshire, England. The most common belief is that Toby Jugs were named for an 18th-century Yorkshire man who got the nickname Toby Fillpot after he drank 2,000 pints of Yorkshire stingo (ale). Original jugs usually showed a seated figure but over time they evolved to be character mugs, often featuring well known personalities. Simon Cellarer was the subject of a 19th century English folksong. The keys on the handle are those to his cellar, full of great wines and ales. He was always good for standing a drink for his friends. It was issued from 1936 to 1960.This item comes from a collection used by a prominent citizen of Wodonga. It is representative of a style of pottery items popular in the 1930s to 1970s in Australian households.A ceramic Toby Jug depicting the character "Simon the Cellarer". The character wears a maroon hat and white ruff. The handle is in the shape of the keys to the cellar door.Around bottom of ruff: "Simon Cellarer:toby jugs, pottery, character jugs

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. An early example of swimwear from when men were able to legally swim topless in the 1930s. The fashion originated in France in the early 1930s, and slowly caught on in other countries, although was often controversial. In Australia this was less so, and by 1940 it was common attire at the beach. Pair of dark blue, woollen bathing trunks. Front skirted flap. White woollen belt with silver-coloured metal buckle. White label with blue stitched text attached to rear. Label: "Alpha" Size: SMswimwear - men's, alpha swimwear, alpha - menswear designer

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Cut velvet pelerine featuring multicoloured garlands of flowers in shades of gold, brown and blue on a pink ground. Chenille trim and long silk fringe, Centre front hook and eye closure, Lined with pale pink silk.women's clothing, outerwear -- capes, fashion -- 1890s, fashion design

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton cutwork camisole. Tape insert around waist, ribbon insert around neckline. Front and back have a band of hand worked cutwork leaf sprays, as do the sleeves. The neckline is round. The garment is short sleevedlace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Chemisette with a square neckline and three buttons down the front. It has an attached peplum. The sleeves and neckline are edged with lace. A row of ribbon insertion lace tape is attached to fabric of neckline. 30 mm in from the front of the neckline is a row of drawn thread work. Bodice is also decorated with 4 rows of triple pin tucking. The garment is short sleeved. The buttonholes are concealedlace, women's clothing, underwear, camisoles, chemisettes, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Sleeveless chemisette with five concealed pearl buttons. Hand worked broderie anglais lace. Peplum is attached to an insert of ribbon tape lace. Neckline and bodice edged with lace. The same lace is also used to border an insert cutwork panel with concealed button holes lace, women's clothing, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Sleeveless chemisette with 3 pearl buttons decorated with 4 rings of cut work flowers. Ribbon threaded around the neckline. Bodice gathered to attach to peplum at waist line. Handworked.fashion and textiles collection - kew historical society, lace, women's clothing, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White muslin camisole with fabric made by machine joined tape lace. Sleeves have three layers tape lace between three pieces of muslin. Edges are of a layer of scalloped tape lace joined to sleeves by a ribbon insert tape lace.fashion and textiles collection - kew historical society, lace, women's clothing, australian fashion, night wear

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Circle of muslin, lace edged, with an attached bias tape to form a tube for gathering capfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton voile blouse with short sleeves. Neckline ornamented with collar and jabot style front edged with tape lace. Sleeves also ornamented with tape lace. Sleeves and neckline gathered with roulauxfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Rectangular silk organza chemisette, with inset embroidered net at the front and at the neck. The free-form, multicoloured silk embroidery includes abstract flowers, fruit and leaves, and may be of Chinese origin. The chemisette has five decorative mother-of-pearl buttons at the front and silk organza ties at the waist.lace, women's clothing, australian fashion, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton jabot of Irish crotchet lace and machine made lace and machine sewn. Inserted lace layer has flat and three dimensional crotchet roses. Lace edging at the bottom has three 3 dimensional roses and shamrocksfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton voile puff sleeved chemisette with four engraved pearl buttons. Neck edged with an edging lace and narrow tape. Sleeves finished with two rows of pin tucking and edging lace. Insertion and tape lace at neckline.lace, women's clothing, underwear, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Camisole with pearl buttons. Two circular floral motifs on either side of front buttons. Broderie finish to armholes and the back. Joined peplum for gatherhing tape at waist linelace, women's clothing, lingerie, broderie anglaise, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Camisole comprised of three types of machine lace and an embroidered cotton joined together to form a fabric and backed with fine netting. There is a band of narrow lace at the square neckline, this is attached to a band of insertion lace with ribbon holes and then wide bands of insertion lace. At the upper midriff level there is a band of lace interspersed with embroidered butterflies. Garment is buttoned at the front.lace, women's clothing, lingerie, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Crutchless Directoire knickers. Hand sewn muslin pant with a front central openingwomen's clothing, underwear, undergarments, directoire knickers

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton machine made net bolero with tambour work and a chemical lace medallion inserted centre backfashion and textiles collection - kew historical society, lace, women's clothing

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Two white engageantes with lace duffs. The stitching suggests that they were hand madelace, women's clothing, sleeve cuffs, engageantes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Hand-embroidered apron. Possibly a Semco pattern. The apron is edged in yellow fabric and has multi-coloured sprays of embroidered flowers.clothing - women's, aprons, protective wear, fashion -- 1950s, fashion design

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. While cotton apron, edged with lace. There is a central panel of insertion lace.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Apricot-coloured cotton apron, hand embroidered with a design of a woman in a garden. The apron has two symmetrically placed embroidered pockets. The apron may be a Semco pattern.clothing - women's, aprons, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Rectangular white cotton apron, hand embroidered with a design of a basket of flowers. The apron may be created from a Semco pattern.clothing - women's, aprons, protective wear, fashion design, fashion -- 1940s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton apron decorated with machine embroidery and appliqué. The apron is a commercially created item produced in China for the European market. clothing - women's, aprons, fashion & design collection - kew historical society, protective wear, fashion design, fashion -- 1960s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.White cotton apron, covering clothing front and back and joined by two buttoned tabs. Based on an examination of the sewing it is presumed that it is a hand-made item.clothing - women's, aprons, protective wear

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Black silk hostess apron embroidered with sprays of flowers using multi-coloured silk thread. The apron is bordered by black commercial lace. Based on an examination of the embroidery, it has been deemed to be a commercially produced item made in India.clothing - women's, aprons, protective wear, fashion design, fashion -- 1960s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Black hostess apron embroidered with sprays of leaves using orange and yellow silk thread. The apron is bordered by commercial guipure lace. The apron is backed by the same black fabric. While the leaves are embroidered on the upper layer only, the pocket is embroidered on/through both layers.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s