Showing 129 items
matching cylindrical forms
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Federation University Art Collection
Artwork - Ceramic, Nicole Pike, (Untitled) Cylindrical Forms, 1993
... (Untitled) Cylindrical Forms...cylindrical forms... - Ceramic (Untitled) Cylindrical Forms Two wheel thrown cylindrical ...This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Two wheel thrown cylindrical vases, wood fired. art, artwork, ceramics, ceramic, wheelthrown, wood fired, cylindrical forms -
Federation University Art Collection
Ceramic, (Untitled) Cylindrical Form
... Cylindrical form with firing flairs...Ceramic (Untitled) Cylindrical Form Cylindrical form ...Cylindrical form with firing flairsbill, jan feder memorial ceramics collection -
Federation University Art Collection
Ceramic, Tony Nankervis, 'Woodfired Cylindrical Vessels' by Tony Nankervis, 1986
... Two woodfired earthernware cylindrical forms by Tony... earthernware cylindrical forms by Tony Nankervis. Tony NANKERVIS ...Tony NANKERVIS A graduate student from the Gippsland Centre for Art and Design (GCAD), Tony Nankervis has been a pioneer of the long wood-fired ceramics technique in Australia. He retired from lecturing at Southern Cross University after working there for 19 years in 2004. He describes his work as 'one-off functional table ware', which includes highly-individualised everyday table items. Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. The wood ash and salts blush the ceramic pieces in the kiln, with finished work taking on the nature of the firing process, which has been described as painting with fire.Two woodfired earthernware cylindrical forms by Tony Nankervis. tony nankervis, woodfire, jan feder memorial collection, jan feder, ceramics, gippsland campus, jan feder memorial ceramics collection, alumni -
Anglesea and District Historical Society
Manicure Set, 1930
... with chromed tools in cylindrical form case with screw lid. Pattern... set, red celluoid handles with chromed tools in cylindrical ...Minature four piece manicure set, red celluoid handles with chromed tools in cylindrical form case with screw lid. Pattern on case in black and bone. Tools include: nail file/cleaner/cuticle pusher.Drawing of lady sitting and gentleman standing in bone on black background. Lid: black with bone stripes.manicure set -
Geoffrey Kaye Museum of Anaesthetic History
Decanter set, 1972
... Glass decanter of cylindrical form with glass stopper... of cylindrical form with glass stopper and a pewter label which hangs ...The Decanter set was originally given to Dr John Paull by Dr Geoffrey Kaye and were later donated to the College by Paull . The decanter label, coaster and tray were crafted by Geoffrey Kaye and includes his initials inscribed into each piece. "LEY" Pewter refers to the pewter containing a large percentage of lead which in this case there is 80% tin and 20% lead.Glass decanter of cylindrical form with glass stopper and a pewter label which hangs over the decanter. The decanter sits on a ley pewter coaster which has three ball feet. Six crystal, sherry glasses sit on a ley pewter tray which has three ornamental feet. [Decanter] (03) / 500ml , [decanter label] SHERRY / G.K. 1972, [under decanter coaster] G.K. 1972. / "LEY" PEWTER, [under tray] G.K. 1972 / "LEY" PEWTERdr geoffrey kaye, dr john paull, ley pewter -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Tools, 2x Gimlet, boring screw, c1900
... of a piece of steel of a semi-cylindrical form, hollow on one side... of a semi-cylindrical form, hollow on one side, having a cross ...A gimlet is a hand tool for drilling small holes, mainly in wood, without splitting. A gimlet is always a small tool made of a piece of steel of a semi-cylindrical form, hollow on one side, having a cross handle at one end and a worm or screw at the other. A similar tool of larger size is called an auger. Early settlers in Moorabbin Shire had to be self reliant as they established their farms and built their homes using tools like this gimlet. 2 x small hand tool with a screw point, grooved shank, and cross handle for boring holes early settlers, pioneers, market gardeners, moorabbin, bentleigh, brighton, cheltenham, tools, blacksmiths -
Orbost & District Historical Society
jar, 1930's
... A cylindrical mould-formed white opaque glass jar... gippsland jar A cylindrical mould-formed white opaque glass jar ...A cylindrical mould-formed white opaque glass jar that possibly originally contained Marmite, a yeast extract, made as a by product from beer brewing. It has a threaded lip to fit screw-on lid. Base of the jar has 'PROPERTY OF SANITARIUM HEALTH FOOD CO' AGM 21 V888jar storage container sanitarium-health-food-co. australian-glass-maunufacturers -
Churchill Island Heritage Farm
Clothing - Bonnet, Baby
... in cylindrical form and by strategic removal of threads is flattened... in cylindrical form and by strategic removal of threads is flattened ...This baby bonnet is made of strips or braids of machine made torchon lace crocheted together by hand and the bonnet is lined with silk fabric. There are crocheted rosettes in place which are placed to attach the ribbons. The thread used is possibly rayon which was used from 1915, but is very difficult to distinguish from silk. The Barmen machine would have been used to create the lace strips. It was developed from a braiding machine in the 1890s in Barmen which is now part of Wuppertal in Germany. This machine makes a near perfect copy of torchon lace which it creates in cylindrical form and by strategic removal of threads is flattened into the braid strip.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Strips of machine made torchon lace in a bonnet, lined with silk, and crocheted rosettes for attachments to two lengths of silk for ties.Packaged with note; "Hand crocheted silk lined baby's bonnet" crochet, churchill island, janet amess lace collection, baby, bonnet, amess, clothing -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Tools, small cylinder with 3 screw drivers, 20thC
... A metal cylinder in 2 parts containing 3 screwdrivers... of the cylinder thus forming a handle for turning the head fitted ...A small portable tool kit for a man or woman A metal cylinder in 2 parts containing 3 screwdrivers. The top unscrews to reveal the 3 small screwdrivers. A screwdriver base slots into a groove on the base of the cylinder thus forming a handle for turning the head fitted into the appropriate screwtools, tool manufacturers, early settlers , market gardeners, moorabbin, bentleigh, cheltenham, tool kits, -
Federation University Art Collection
Ceramic, [Vessel] by Tony Nankervis
... Tall cylindrical wood fired form. If you are able... [Vessel] by Tony Nankervis Tall cylindrical wood fired form ...Tall cylindrical wood fired form. If you are able to assist with information of this artist or artwork please use the email link below right. jan feder memorial ceramics collection, ceramics, woodfire, australian studio pottery, tony nankervis -
Churchill Island Heritage Farm
Clothing - Bonnet, Baby
... in cylindrical form and by strategic removal of threads is flattened... of torchon lace which it creates in cylindrical form and by strategic ...This beautiful little baby bonnet is made of strips of machine made lace sewn together and attached to what appears to be a muslin cap. The lace is torchon and would have been made on a Barmen machine. It was developed from a braiding machine in the 1890s in Barmen which is now part of Wuppertal in Germany. This machine makes a near perfect copy of torchon lace which it creates in cylindrical form and by strategic removal of threads is flattened into the braid strip. These machines could only make one strip at a time and were limited to 120 threads so people used creative ways to display this type of lace. There are purple and white ribbons attached and a damaged embroidery thread around the top of the lace.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Machine made lace bonnet, with lilac ribbon and a slightly frayed blue embroidered thread.lace, churchill island, janet amess lace collection, baby, bonnet, amess, clothing -
Orbost & District Historical Society
leather leggings
... and buckle attached which can be wound around the leather to form... the leather to form a cylindrical shape. Are believed to have been ...Are believed to have been worn by a jockey riding horses in the Orbost district. They were found stored inside a leather valise with other "horse" items which are also believed to have been owned by the jockey. Two rectangular pieces of leather, with a leather strap and buckle attached which can be wound around the leather to form a cylindrical shape.leggings jockey-leggings horse-racing -
Whitehorse Historical Society Inc.
Machine - Lace Making Pillow
... with wooden handle. Green base on cylinder with pins to form lace... on cylinder with pins to form lace pattern. 32 wooden bobbins ...American lace loom. Victorian substitute for the usual lac maker's cushion.Lace making loom on blue plush base. Round cylinder with wooden handle. Green base on cylinder with pins to form lace pattern. 32 wooden bobbins with cotton attached lead cotton to pattern.handcrafts, lacemaking -
Federation University Art Collection
Ceramic, Robin Welch, Stoneware Bowl by Robin Welch, c1980
... and alteration. This gave his generally cylindrical forms a more organic... generally cylindrical forms a more organic and sculptural aspect ...Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Stoneware Bowl by Robin Welch, 1980
... generally cylindrical forms a more organic and sculptural aspect... and alteration. This gave his generally cylindrical forms a more organic ...Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery -
Federation University Art Collection
Ceramic, Bowl by Robin Welch, 1980
... generally cylindrical forms a more organic and sculptural aspect... generally cylindrical forms a more organic and sculptural aspect ...Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder -
Churchill Island Heritage Farm
Functional object - Long steel lathe
... is shaped into circular, cylindrical or moulded forms using..., cylindrical or moulded forms using changeable cutting tools. Long ...Power-driven, metal-cast woodworking tools such as this lathe were produced in Melbourne during the 1930’s by Royston Siddons. The lathe is designed to hold and rotate wood, which is shaped into circular, cylindrical or moulded forms using changeable cutting tools. Long lathes, such as this one, were used to turn verandah posts. The metal base supports a headstock (far end), tailstock (right) and moveable tool rest. The fixed headstock comprises cone pulleys, a spindle and chuck with spur centre to grip the wood. The adjustable tailstock will hold wood at the required distance, with additional central support for long pieces. The tool rest can be moved along the bed to the required position.Long steel lathe with black metallathe, steel, hand operated, machine operated -
National Wool Museum
Ceremonial object - 1988 Seoul Olympics Closing Ceremony Paper Lantern, c. 1988
... latticed crepe paper forms a cylinder. The two thirds of the paper.... When opened latticed crepe paper forms a cylinder. The two ...This paper lantern was used by Australian athletes in the ‘Lantern Dance’, the last program of the closing ceremony, the lantern is called “Ch’ong sa ch’orong” and is traditionally used during weddings and festivals.When closed the lantern appears as a large, red spiral bound book with detailed inscriptions describing the way to correctly use the lantern in the ceremony. This description appears in several languages as well as a drawn depiction. When opened latticed crepe paper forms a cylinder. The two thirds of the paper is dyed dyed blue and the last third is dyed red. A small battery pack is used to light the lantern.GAMES OF THE XXIVTH OLYMPIAD SEOUL 1988 o The last program of the Closing Ceremony is called “Lantern Dance”. When all the performers enter the stadium holding lanterns, turn the paper board inside out and press the ends so that they snap shut. This will then allow the lanterns to light up. Hold the lantern by the handle at the centre and gently rock it above your head as shown in the picture. o Listen to the announcements via the ear-phones and follow the signals from the guides for further instructions. o* This lantern is called “Ch’ong sa ch’orong” and was traditionally used during weddings and festivals. This inscription is repeated several times in various languages on the cover of the lantern.1988 seoul olympic games, closing ceremony, lantern dance -
Flagstaff Hill Maritime Museum and Village
Functional object - Lamp, Probably second half of 19th century
... metal cylinders to form a circular wick, with air drawn through... metal cylinders to form a circular wick, with air drawn through ...OIL LAMPS Oil had been burnt in lamps at least since the Palaeolithic age, and the cheapest light fittings used in Victorian homes had changed little since then, with a simple wick protruding from a small container of whale oil or vegetable oil. However, much brighter and more sophisticated lamps had emerged late in the 18th century, the most important being the Argand oil lamp. This lamp had a broad flat wick held between two metal cylinders to form a circular wick, with air drawn through it and around it. This in itself was a revolutionary idea, but its inventor, Aimé Argand also discovered that by placing a tube or 'chimney' over the flame, the hot gases from the flame rose rapidly creating a draught and drawing air in from below. Fanned by a draught from both inside and outside the circular wick, the poor spluttering flame of early lamps was transformed into a bright, efficient light source (see illustration). The one disadvantage for the Argand oil lamp and its many imitators in the early Victorian period was that the best oil then available, colza, was so thick and viscous that it had to be fed to the wick either by gravity from a reservoir above, or pumped up from below. Most colza oil lamps have a reservoir often shaped like a classical urn to one side which in some fittings obstructed the light. The Sinumbra lamp got around the problem by having a circular reservoir around the base of the glass light shade. One of the most significant improvements of the Victorian period was the introduction of paraffin. Patented in 1850, the price of the new fuel fell dramatically following the discovery of oil in Pennsylvania, USA. As paraffin was much lighter than colza the reservoir could be placed below the flame, enabling many new designs of light fittings. One of the most successful paraffin lamps was the Duplex burner introduced in 1865 which had two wicks side by side and, like the Argand lamp, a clear glass chimney with air drawn from below. Most lamps also had a larger shade around the chimney often of opaque glass to diffuse the light. The shades or diffusers provided an opportunity for decoration, and a variety of shapes, colours and patterns were used. The amount of light which can be produced by a wick is limited by the surface area of the wick and the amount of fuel and air able to reach it. As fuel burns at the tip of the wick only. The gas mantle, on the other hand, provides a much larger three-dimensional surface, and is far more effective as a result. Invented by Carl Aur von Wesbach in 1885, the incandescent mantle was the last major breakthrough in oil and gas lighting of the period, before both succumbed to electric lighting. The mantle consists of a skirt of silk or cotton impregnated with a non-inflammable mixture (thorium and cerium), suspended over a fierce flame. When first ignited, the cotton burns away leaving fine, brittle filaments of non-combustible material in its place which glow white hot or 'incandescent'. The mantle works best with either gas or a fine mist of paraffin produced by a pressurised reservoir which is still widely used in camping lamps today, producing a bright, warm light to rival an electric bulb. https://www.buildingconservation.com/articles/lighting/lighting.htm http://www.artandarchitecture.org.uk/stories/lighting/lighting4.html#:~:text=Oil%20had%20been%20burnt%20in,whale%20oil%20or%20vegetable%20oil.An item of great importance in any home before gas or electricity was available.Kerosene lamp, ceramic, with metal top and wick. Has handle at side and floral hand painting around the body. Glass cover. Metalwork is rusty.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, oil lamp, heating, lighting, ceramics -
Lara RSL Sub Branch
Photograph, RAAF 1912 Deperdussin Aircraft
In the early days of flying in France, Armand Deperdussin and his aircraft designer, M. Bechereau, formed the Societe Pour Appareils Deperdussin, and designed and produced Deperdussin monoplanes of advanced design for the period. In 1912, the Australian Government ordered from the British Deperdussin Aeroplane Company, two single-seat trainers, Type A with 35hp Anzani Y-type three cylinder engine. These two aircraft were in the first batch of four aircraft ordered by the Commonwealth Government (the other two aircraft were BE-type biplanes). The recorded cost of the Deperdussin was 480 pounds each. The serial number CFS 5 identifies this aircraft as the 5th Australian Military aircraft. It is the oldest existing Australian aircraft. either military or civilian. Rectangular shaped glass covered picture frame with photo of the plane and pilot.RAAF AIRCRAFT 1921-1981. FIRST FOREBEAR The 1912 Deperdussin was the first military monoplane ordered for the RAAFs ancestor, the Central Flying School, Point cook.This historic aircraft is retained at the Australian War Memorial as a symbol of the nation's airpower genesis.deperdussin monoplane, australian military aircraft, lara r.s.l. australian flying corps, 1912 aircraft. -
Flagstaff Hill Maritime Museum and Village
Domestic object - Wooden Rolling Pin, First half of 20th Century
A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry -
Flagstaff Hill Maritime Museum and Village
Domestic object - Tankard, Before March 1878
A tankard is a form of drinkware consisting of a large, roughly cylindrical, drinking cup with a single handle. Tankards are usually made of silver or pewter but can be made of other materials, for example, wood, ceramic or leather. A tankard may have a hinged lid, and tankards featuring glass bottoms are also fairly common. Tankards are shaped and used similarly to German beer steins. The word "tankard" originally meant any wooden vessel derived from the 13th century and later came to mean a drinking vessel. The earliest tankards were made of wooden staves, similar to a barrel, and did not have lids. A 2000-year-old wooden tankard of approximately four-pint capacity has been unearthed in Wales. Metal tankards often come with a glass bottom and the legend is that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, since the Navy could press by force, known as press-ganging, rendering deception unnecessary. In a bar fight, the first punch was thrown while the recipient had the tankard raised to his mouth; another legend has it that the glass bottom was implemented to see the attack coming. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of a fragile pint glass. It is unclear if all or any of these legends have any substance. The Tankard is associated with the shipwreck of the Loch Ard which is of significance for Victoria and is registered on the Victorian Heritage Register (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and this tankard is one item from the largest accumulation of artefacts from this notable Victorian shipwreck. The tankard was found on the wreck and it gives us a snapshot into Victorian maritime history. Allowing us to interpret the story of this tragic event. This drinking vessel is also archaeologically significant as it represents aspects of Victoria's history that allows us to interpret Victoria's social and historical themes of the time. The tankards significance is unfortunately its association with the worst and best-known shipwreck in Victoria's history. (See note section this document for history of the Loch Ard wreck)Pewter tankard; rolled lip, flared base, large handle. Surface has marine encrustations. Inscription on attached label. Recovered from the shipwreck as the Loch Ard. "LA 33 255"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pewter tankard, tankard, drinking vessel -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1880s to 1910’s
This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. The bottle’s shine has been worn from around 3/4 of its body, indicating that it has been resting horizontally on an abrasive surface, perhaps in the ground or on a river or sea bed. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. Brown, brown glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ nipple-liker bump in the centre. Bottle is straight from base to half height then tapers to a shoulder over the next quarter, than almost straight up to the mouth. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, brown glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker, ginger beer bottle -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1880s to 1910s
This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. This turn-moulded glass bottle is made distinctive due to its round seamless body and indented base.Bottle, dark green glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ bump in the centre. Bottle is straight from base to half height, then tapers to a shoulder over the next quarter, than almost straight up to the mouth. There is a portion of cork in the bottle’s mouth and dry remnants in the bottle’s base. Possibly used for ginger beer. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, green glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1880s to 1910s
This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. This hand made, green glass bottle is representative of bottle making before mass production and is made distinctive due to its round seamless body and indented base.Bottle, dark green glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ bump in the centre. Bottle is straight from base to half height, then tapers to a shoulder over the next quarter, than almost straight up to the mouth. There is a portion of cork in the bottle’s mouth and dry remnants in the bottle’s base. Possibly used for ginger beer. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, green glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1880s to 1910s
This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. The bottle’s shine has been worn from around 3/4 of its body, indicating that it has been resting horizontally on an abrasive surface, perhaps in the ground or on a river or sea bed. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. This turn-moulded glass bottle is made distinctive due to its round seamless body and indented base.Bottle, dark green glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ bump in the centre. Bottle is straight from base to half height, then tapers to a shoulder over the next quarter, than almost straight up to the mouth. The shine has been worn from three-quarters of the body of the bottle. There are particles adhered to the inside of the bottle. Possibly used for ginger beer. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, green glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker -
Flagstaff Hill Maritime Museum and Village
Audio - Gramophone Cylinder, Sandy McNab, 1908
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder was made by Edison 1908 and contains Record number 53 by Sandy McNab. c. 1908On label “Edison Record No. 53, Sandy McNab" and "Form no. 1130, April 1908. Patented December 6 1904, No. 2109, and December 6 1904 No. 2110. “This record is sold by the National Phonograph Company of Australia Ltd, at Sydney Australia.” Trade Mark Thomas A. Edison warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison -
Bendigo Military Museum
Equipment - KIT BAG, Possible post WW2
Kit Bag, brown canvas, cylindrical Top closed with rope threaded through 8 brass eyes. Rope threaded through material loop on base to form a shoulder strap. Circular flap sewn into top to cover contents when bag is closed.military equipment, containers, kit bag, passchendaele barracks trust -
Kiewa Valley Historical Society
Rectal Proctoscope
This medical / hospital instrument was used in the Tawonga District General Hospital which was built in the 1950s specifically for the increase in population due to the Kiewa Hydro Scheme.Historical: Shows the development of scientific hospital equipment. Provenance: Used in the Tawonga District General Hospital which was remote and therefore required good equipment.Used to look into the rectum. Part 1 fits into a hollow cylinder of part 2. 1. Plastic brown handle - round and shaped at end with 4 slices to form square shape for easy grip. attached to steel with protective plate long thin rod & then cylinder with covered shaped ends. 2. All steel - spoon shaped handle on angle to hollow cylinder wider and shaped into hollow cylinder - bottom cut cross section on angle.11AQ - on part 1. on steel between protective plate and wooden handle 11AQ - on part 2. across tip of handle DOWNS DA-001-01-Y length ways on handlemedical instrument. hospital equipment. mt beauty. tawonga. rectum. -
Bendigo Military Museum
Photograph - Johnson Ground Elevation Meter (JGEM) Survey Vehicle - Army Survey Regiment, Fortuna, Bendigo, c1960s
This is a set of 16 photograph of the Royal Australian Survey Corps’ Johnson Ground Elevation Meter (JGEM) Survey Vehicle taken at the Army Survey Regiment, Fortuna, Bendigo. The JGEM vehicle was extensively used by RA Svy within Australia from the late 1960s. A limited number of Ground Elevation Meter (GEM) station wagon type vehicles were manufactured by General Motors Corporation (GMC) in the USA for the United States Geological Survey, Canada’s mapping agencies, RA Svy and National Mapping (Natmap). The GEM was a four-wheel drive, four-wheel steer vehicle. Four-wheel steering was necessary to avoid systematic errors caused by non-tracking of front and rear wheels on conventionally steered vehicles. The manufacturer substituted the rear axle with a front axle and connected them to form the four-wheel steering mechanism. The two Australian GEM vehicles, referred to as Johnson GEMs (JGEMs) were converted into right-hand drive. After delivery in 1964, acceptance Natmap and RA Svy testing and operator training was undertaken at the Army's School of Military Survey located at Balcombe, Victoria. A small fifth wheel was mounted on a cantilever arm suspension midway between the front and rear wheels on the right side of the vehicle. It was lowered to and raised from its operating position by use of a constant pressure air cylinder. A telescopic bar, suspended between the front and rear axles, provided the reference datum for the angle measurement. The wheel provided the velocity or distance signal through a pulse generator system. A sensitive pendulum mounted on this bar provided the angle measurement for each minute distance traversed. The JGEM contained electromechanical instruments used to determine relative elevations, by trigonometric principles, along a traversed path. These relative elevations were obtained through apparatus which measures the instantaneous angle of inclination of the road and the instantaneous velocity of the meter along such a path. Road routes over which the JGEM operated were planned so that each started and ended as near as practicable to an existing point of known elevation (formally referred to as a level traverse bench mark). The difference in height from the bench mark and the road surface alongside the JGEM’s fifth wheel was measured with a level and staff. Along each route, mapping control photo reference points where new elevation values were required were identified on aerial photographs. Under favourable conditions it was possible to survey as much as 160km in an ordinary working day. The first of RA Svy’s JGEM operations was undertaken in 1:250,000 scale map areas of Queensland. CPL John Hook was the JGEM’s main operator in the early 1970s undertaking operations covering 1:250,000 scale map blocks over northern Victoria and central NSW, each requiring 36 points (9 runs of photography and 4 points across. SPR Lyn Thompson and SPR Bob McDonagh teamed with CPL Hook on some of these JGEM operations. When RA Svy was integrated into the Royal Australian Engineers in 1996, the JGEM vehicle with the Survey Corps collection was donated to its museum. It is believed to be the last of the original manufactured fleet in existence. The JGEM has undergone extensive refurbishment to achieve roadworthiness and is currently housed at The Australian Army Museum of Military Engineering, Hoslworthy Barracks, NSW. It can be viewed by making an appointment with the museum’s curator.This is a set of 16 photograph of the Royal Australian Survey Corps’ Johnson Ground Elevation Meter (JGEM) Survey Vehicle taken at the Army Survey Regiment, Fortuna, Bendigo. The photographs were on 35mm slide film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1960s, Johnson Ground Elevation Meter (JGEM) Survey Vehicle .2) - Photo, colour, c1960s, JGEM instrumentation, on-board computer. .3) - Photo, colour, c1960s, JGEM instrumentation. .4) - Photo, colour, c1960s, JGEM instrumentation, on-board computer. .5) - Photo, colour, c1960s, JGEM tyre pressure controller .6) - Photo, colour, c1960s, JGEM rear doors, SGT Geoff Briggs. .7) - Photo, colour, c1960s, JGEM 5th wheel distance/angle measurement device in lowered position, SGT Geoff Briggs. .8) - Photo, colour, c1960s, JGEM 5th wheel distance/angle measurement device in lowered position. .9) & .10) - Photo, colour, c1960s, JGEM tyre pressure system, SGT Geoff Briggs. .11) - Photo, colour, c1960s, JGEM tyre pressure system. SGT Geoff Briggs. .12) - Photo, colour, c1960s, JGEM levelling scope, levelling staff, unidentified technicians. .13) & .14) - Photo, colour, c1960s, JGEM levelling scope, unidentified technician. .15) & .16) - Photo, colour, c1960s, probably survey operation adjusted height plotted on block base sheet. .1P to .16P - Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, surveying