Displayed in History House.Pewter lid (538.2) and cut-glass sugar bowl (538.1). Bowl has cut-glass design of geometric and rounded shapes. Pewter lid has designs of roses, in an art nouveau style.sugar bowl, decorative object, domestic item, art nouveau

Electro Plated Silver cutlery. Part-set comprising of 2 teaspoons, 1 butter-knife and 1 sugar- tongs in an olive coloured cotton-sateen lined, embossed-paper covered box.EPNSkitchen equipment, cutlery, silverplate, early settlers, pioneers, moorabbin, bentleigh, cheltenham, market gardeners

Pink coloured invoice 6862 issued to Mr. Piper, Inglewood by H.V. Pulfer, merchant and importer, 402 Hargreaves Street, Bendigo on 10.2.37 for 3/4 ton of sugar (8 bags gone).bendigo, business, h.v. pulfer

Vinegar label printed in brown on a cream background. Fermented Vinegar, brewed from Sugar & Malt. J. & E. Ogburn, the Reliable Store, Bendigo. Decorative border made from squares and triangles.business, printers, cambridge press, cambridge press collection, j & e ogburn

Cream china toy tea set with small gold pattern and edging. Comprises nine pieces - Two plates, cups and saucers, one milk jug, sugar pot with handles and tea pottoys, dolls' accessories

7 piece porcelain breakfast set, including Tray, Tea Pot and lid, cup, milk jug, toast rack and creamer, with a June Roses design on the outside of the items. Missing sugar bowl."Royal Winton Grimwades June Roses Made in England"tea sets

The contents are Tea, Chocolate, Sugar and Salt. Item in the collection re M.J. Craig NX170489, refer Cat No 4316.4 for service details..1) Tin green colour rectangular shape, unopened ration which has a pull ring, instructions on top and base. .2) Lid green colour for .1), inside lid has list of contents and instructions for use..1) On top, "To open pull ring this way", on base, "A GADSDEN Container", plus, "AMF EMERGENCY RATION D (arrow up ) D" .2) On lid top, "AMF EMERGENCY RATION D ( arrow up ) D"containers, emergency, rations

Sugar hundreds and thousands are used to decorate cakes and biscuits. This small vial dates from the 1970s, today they are sold in larger jars.Original item: small clear plastic vial with red lid, containing multi-coloured 100s and 1000s. Photograph only in archive.cake decorating, sweets

Presented to Mrs A.M. Foster (husband a director, may have been major shareholder) on occasion of laying of foundation stone at Maffra Sugarbeet Factory in 1897. Representatives of Frederick Barley, who visited the museum in September 2009 believe they have an identical trowelA silver presentation trowel with handle of unknown white compound, in an oblong case. The case is covered in black leatherette/paper, with green satin lining in the lid and black velvet inner base. Engraved to mark the laying of the foundation stone at the Maffra Sugarbeet Factory in 1897 by Mrs A.M. Foster. Much embellished with hand engraving. Box edged inside with ruched satin around edges."Presented to Mrs A.M. Foster on the occasion of laying the memorial stone for the Beet Sugar Factory at Maffra on June 19th 1897 by Waring and Howden [Bowden?] builders.sugarbeet

Malcolm Moore No. 1013 Four wheel Diesel Rail Tractor Gauge 2'0" Malcolm Moore rail tractor (Builder’s Number 1013) It was built for the Australian Army in 1943. It was sold to the Inkerman Sugar Mill in Queensland around 1948 for hauling cane and shunting at the works. This rail tractor was originally powered by a Ford side valve V8 petrol engine. It was purchased from the Inkerman Mill of Pioneer Sugar Mills in 1982. Historic - Industrial narrow gauge Railway - Diesel Rail Tractor - used by the Australian Army and Inkerman Sugar Mill in QueenslandDiesel Rail Tractor made of iron and wrought irondiesel rail tractor, puffing billy, inkerman mill, industrial narrow gauge railway, gauge 2’0”, inkerman sugar mill, australian army

This photograph depicts Thersea Dunn (nee Wallis) the maker of the sugar bag apron held by the Ballarat Apron Festival (0001) on the day of her wedding.Digital photograph of Theresa Wallis on the day of their wedding Allan Dunn.

5 page ,Cream fine paper stapled Document with purple typed lettering , W.D.Mason Collection, Particulars of the Sugar or Gold Process Method of Silvering Glass. A detailed description of chemicals used and the process of silvering glass.business, retail, w d mason

Pack contains plastic spoon, dehydrated chili concarne meal, sachets of sugar, coffee and matches. Chocolate disc with toffee, toilet paper, powdered cordial. Coconut Bar, non dairy creme substitute sachet.ration pack, sas

Apart from around Maffra, the only other area where sugarbeet was grown was Lindenow. It was carted to Maffra by special beet trains.Copy photograph of Lindenow sugar beet ready for transport by rail to Maffra. In the photograph are two horses ready to pull a dray with a man standing nearby and another horse ready to pull a dray, with a woman standing nearby.sugarbeet

Foundation Stone from the Maffra Sugar Beet Factory, mounted on two blocks of stone that originated from the footings of the Bushy Park railway bridge. It reads: Maffra Sugar Beet Company Limited / Memorial Stone /Laid by Mrs A.M. Foster on 19 June 1897 / Directors / Allan McLean MLA Chairman / A.M. Foster F.H. Forrest C.G. Glassford / F. Horstman J.Mills J.McDonald / J.W. Allen Treasuer's Representative / J.Salatnay C.E. Engineer Fred C. Barley Secretary / Waring & Rowden Builders.sugarbeet

Pink coloured invoice 1192 issued by H.V. Pulfer, merchant and importer, to Mr. Pieper, Inglewood, on 1.12.9 (query date)for the supply of 1/2 ton sugar. Invoice on bottom for same, dated 1/12/37.bendigo, business, h.v. pulfer

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

A shovel shaped sugar spoon with an enamelled badge attached to the end of the handle consisting of a black bowl with a white dot above a black bib with an old English K with Kew Bowling Club on a red curved band below.Kew Bowling Club Pitcher EPNS Melbtrophies, souvenir spoons, kew bowling club - wellington street - kew (vic), kew bowling club

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

A complete tea hamper used for train travelling. It has a small kerosene burner, a teapot and is fitted with small metal boxes and flasks for holding milk, sugar, tea etc. It is in a cane box which opens out with leather inserts.hamper travel-items personal-effects cane-basket

Golden Bells Jam Label - Apricot Jam - packed by Bendigo Preserving Company Fresh Fruit Jam - made from cane sugar and apricots 1 lb. 8 oz. tin damaged label highly water markedThe speciality Press Limited

CLUNES COURSING CLUB CHAMPION MEETING THURSDAY 22 JULY 1909. DRAW SAME EVENING AT CLUB HOTEL 7 O'CLOCK. A. E. KEMPSON. SECRETARY.POSTCARD PHOTOGRAPH - TROPHIES PRESENTED BY PRESIDENT GEORGE FRASER TO CLUNES COURSING CLUB. CHAMPION STAKES 1909 LARGE SILVER ENGRAVED TRAY, SILVER TEAPOT, SILVER COFFEE POT, SILVER SUGAR BOWL &SILVER MILK JUG.1909 CHAMPION MEETING. CLUNES ESTATE STAKE. THURSDAY JULY 22 & FOLLOWING DAYS. 64 ALL-AGES AT L 3.3.S EACH, TROPHY VALUE 35 GUINEAS. PRESENTED BY GEORGE FRASER. ESQ J.P. WITH 25 GUINEAS. ENTRIES CLOSE 3 PM WEDNESDAY 21ST JULYlocal history, photography, photographs, coursing

Childs china tea set consisting of 6 cups, 6 saucers, 6 plates, 1 tea pot with lid, 1 sugar bowl with lid and 1 milk jug, all decorated with coloured flowers and gold trim.toys, domestic equipment, tea set

.1 Silver tray (electroplated), engraving on base, ornate handles .2 Creamer, jug with ornate handle, electroplated .3 Sugar bowl, electroplated, 2 handles, no lid .4 Teapot, electroplated, ornate handle, bone knob.1 "Clunes and District Coursing Club Trophy" Presented to J.R. & A.W. Carter, Won by A. Gillett's "Simple Mary" season 1911tea set, trophy, clunes and district coursing club

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. The stem is bent and the bowl is cracked and corroded. Approximately 40% of the original plate remains. No makers marks are legible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks