Copper pitcher. Large copper pitcher/jug. Handle and pouring lip. Used in Cohn's soft drink manufacturing business.business, cohn brothers, copper pitcher, bendigo, business, cohn's brothers

Commissioned by State Bank to produce 5 copper bas-reliefs for 73 Percy Street, Portland. Spoke with Miss Betty Vivian (Member of the Portland Historical Society) re Portland's history. Commonwealth Bank stored objects in Melbourne (c.1991). Negotiations between Portland Historical Society and Commonwealth Bank of Australia led to gift of works to People of Portland. Stored at Council depot c.1998, retrieved for Maritime Discovery Centre display.Copper bas-relief. Depicting a man in raincoat and wide-brimmed rain hat at a ship's wheel. Behind him are flying birds and in front of him is the tail of a seal diving into waves on the left and the front of a seal on the right.

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. During this time, the Boyds purchased this set of Revere kitchenware, which carries the prized "Process Patent" maker's mark on the thick copper bases. Mandie Boyd recalls: "I don’t remember a lot of cooking going on in them, if any, as they were a pain to clean but looked fabulous hanging on the wall absolutely gleaming. We would all check our hair and make up in them."A set of Revere Ware Saucepans and Frying Pans. A set of four Revere Ware copper clad, stainless steel saucepans with lids and black handles and hanging rings. A set of three Revere Ware copper clad, stainless steel pans with black handles and hanging rings. The largest flat one has no lid. Saucepans: largest 175mmx140mm, smallest 120mmx180mm. Frying Pans: largest 350mmx10mm, smallest 80mmx50mm.Revere Ware company engraving. Made under process patent #2363973. 'Revere Ware 1801' 'Patent # 22726091'revere, revereware, revere ware, cookware, walsh st kitchenware, robin boyd, ohm2022, ohm2022_10

The incomplete set of copper stencils was used some time ago to print Old English letters. They still have the remains of black ink on them. The user places the stencil on top of the surface to be labelled, then paints, rolls or brushes ink onto the surface of the stencil, allowing the ink to cover the surface that is exposed by the cutout in the stencil. Stencils in a variety of materials have been in use for thousands of years to reproduce images and letters; examples include wood, metal, cardboard, paper and wax. The box once contained a Silver Stork brand feather pen.The stencil set represents a form of manually produced printing and labelling. The process has been used Stencils, copper; twenty-two stencils of the old English alphabet, stored in a pale green cardboard rectangular box that once contained a feather pen called The Silver Stork feather pen. Box is labelled "The Silver Stork" "A Scribbling Pen" Image; [a feather' with text "Silver Feathers" flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, stencil set, copper stencils, silver stork, feather pen, printing, labelling, reproduction, stencilling

Alex Anderson was a plumber and gasfitter who operated from 178 Fairy Street, Warrnambool, in the early part of the 20th century. They made and repaired water tanks, barrels milk and cream cans, chimneys and cattle troughs.A common item which was manufactured locally.Round copper kettle with lid and handle with folded metal edges. Handle reinforced with copper at top. Spout has a join at top. A. Anderson Maker Warrnambool. warrnambool, alex. anderson, 178 fairy street warrnambool, alex. anderson plumber warrnambool, fairy street, plumber

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Silver plated copper alloy table fork from the wreck of the Loch Ard. William Pagewarrnambool, shipwrecked coast, flagstaff hill maritime museum, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, fork

Item relates to Gilbert Turner MM, No 1410 45th Batt AIF. Refer 1294P, 1039P, 1038.Copper button with outline of Australia in centre."Australian Military Forces"uniforms-accessories, costume accessories-haberdashery

Domestic Flat Iron coated in Copperstawell

Inspired by the opening lines of Percy Bysshe Shelley’s 1820 poem of the same title, The Cloud has grace of line that epitomises the model of classically informed beauty. Richardson’s figure successfully follows the serpentine line of Art Nouveau sculpture while also echoing the influence of British New Sculpture with its focused attention to bodily detail and surface articulation. A bronze version of The Cloud was cast in 1987 and can be seen in the formal garden between the Brighton Town Hall and the Brighton Library.Art Nouveauplaster patinated with paint and ground coppersculpture, female figure, charles douglas richardson, the cloud, cd richardson, c douglas richardson, percy bysshe shelley, poem, art nouveau, new sculpture, flowers

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Rough biting and aquatint on copper on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Drypoint and softground copper etching on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Etching, engraving and drypoint on copper on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Etching, engraving and aquatint on copper on papergippsland, artwork, permanent collection

Copper kettle, used for steaming and shaping wood.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Copper nail from a wreck. Length 17¼"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, copper nail, nail

Collection of pre decimal Coins. Copper and Silverstawell

RAAF enlisted hat badge. Copper- alloy. Crown over Laurel Wreath with RAAF in centre.

This Honour Board was made by the Ballarat Technical Art School, a division of the Ballarat School of Mines. Timber honour boards with names on repoussed copper. ballarat old colonists' club, old colonists' association, honour board, world war one, world war i, a.h. white, w.s.t. morgan, g.f. morgan, e.s. holgate, j.s. lazarus, m. mcgregor, j.g. tyler, j.d. tassell, dr j.k. richards, a.w. bennett, t.e. peart, f. beaton, j.r. cameron, f.f. brind, l malin, h.g. morrow, r.s. anderson, t.c. naples, n.h. jones, f.h. ronaldson, t.j. entwistle, ballarat technical art school

Beam scales for weighing gold, copper dishes.weighing, weights & measures, scales

Eagle Pottery Ltd. Linton Operated in Grey St from approximately 1997 until December 2006. Potter John Eagle won many awards including the Australian Bicentennial. His work is exhibited in museums in Australia and overseas.Maroon & copper glazed urn-shaped vase.pottery, john eagle, eagle pottery ltd

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

These types of metal and glass railway signalling lamps were used for communication, safety and lighting by train guards, shunters and signalmen, as well as station staff in the late 1880s to the early 1900s. They were hand operated and used fuel such as kerosene.The three railway signalling lamps have local significance as a set donated by a resident of Wodonga who worked for the Victorian Railways, as well as national significance as examples of the communication and safety equipment used by the railways in Australia in the late 19th century and early 20th century.Set of three painted black metal and glass railway signal lamps used for various purposes during train journeys. The largest signal lamp has circular blue and red glass filters and a turning mechanism on the top under the handle. "A y" on a small copper plate on one side of the largest signal lamp - Lamp 1.railway lamps, signalling lamp, train signal lamps