Hand painted egg in brass egg cupeggs, decorated eggs, eggcups

Purchased by Mr. & Mrs. H. N. Lord in 1970.Small Chinese Cloisonne egg in multicoloured floral design on black wooded stand.eggs, decorated eggs

From the estate of Elsie Cook, daughter of early Brodribb settler John Cook. Elsie Cooke lived all her life in Gippsland,. She was born at Brodribb in 1895 and died in 1970, Elsie Cooke lived at Bruthen for a short time and, in 1937, moved to live with her aunt, Miss Jean Munro. Miss Cooke was Librarian at the Mechanics Institute for many years. Kindness and consideration for other were Miss Cooke’s attributes and she endeared herself to all who knew her. She was a loyal member of the Presbyterian Church and a stalwart of the Ladies’ Guild, an energetic worker for the Municipal Auxiliary and a member of the Red Cross. (ref. Mary Gilbert) These items are an example hand-made wooden items of the late 19th centuryTwo small hand-turned wooden egg cups decorated with rings around centre.egg-cups carving handcrafts domestic food

These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

A collection of a group of photographs donated to the Society by Lun Blom, from the Photo Shop in Thompson Avenue, Cowes (was opposite the museum)A collection of 19 photographs of Phillip Island and surrounds. 293-01. Koala sitting in enamel bowl on table 293-02. 20 farmers having a break. 293-03. Reproduction of painting of The Nobbies. 293-04. Photograph of a Trophy for 1st prize for ploughing won by Mr L Morrison 1859. 293-05. Photograph of three men standing in front of a motor vehicle. 293-06. Photograph of view of Cleeland's House at Cape Woolamai. 293-07. Photograph of a whale beached on Phillip Island with people standing around it. 293-08. Photograph of a family and children in front of car - unknown. 293-09. Photograph of a painting of "Innishowen" Harbison's Property. Mr Harbison's portrait inset on the painting. 293-10. Photograph of an early map - possibly drawn by Bass & Flinders. 293-11. Photograph of the San Remo-Westernport Hotel, with vehicles in front. 293-12. Photograph of a fishing boat at the San Remo Jetty with the township in the background. 293-13. Photograph of a couta boat under full sail in Westernport. 293-14. Photograph of an aerial view of the Two Bridges taken from San Remo side. 293-15. Photograph of the Mutton Bird Eggers Camp - Bergins Bay Cape Woolamai. 293-16. Photograph of a Steam ferry decorated with flags. 293-17. Photograph of Fisherman's hut at Cowes with pier in the background. Possibly Mr Cox's. 293-18. Photograph of a couple standing on the bridge in Lover's Walk Cowes. 293-19. Photograph of an aerial view of Phillip Island looking towards Mornington Peninsula and the Heads to Port Phillip Bay in the distance.293-01. "Koala Pie" Cowes. 293-06. Mr Cleeland's Station. 293-09. "Innishowen" Mr. Harbison. 293-10. Phillip Island. 293-17. Phillip Island - Fisherman's Hut, Cowes. 293-18. Phillip Island - Lover's Walk, Cowes.wildlife - koala, wildlife - whale, the nobbies, ploughing trophy, cape woolamai - cleeland's house, innishowen, mr harbison, phillip island map, westernport hotel san remo, fishing boat san remo pier, couta boat westernport, the two bridges san remo, mutton bird eggers camp, steam ferry, fisherman's hut cowes, lover's walk cowes, aerial view of phillip island, lyn blom

Belonged to Gwen Asling (nee Avard) Very old Silverplated decorative serving tray and cups for serving boiled eggsSilver plated stand and four cups. Decorative handle in centre, scalloped edge on three decorative legs. Cups have same decorationJAMES DIXON & SONS SHEFFIELDdecorated serving tray .silverplated

François Boullier of France and Isaac Hunt of England both took credit for inventing the cheese grater in the 1540s. Ingredient supplies, mainly milk, ebbed and flowed in both France and England, as they have in the United States during this coronavirus pandemic. Boullier originally aimed to use up an overabundance of cheese in Paris. An avoidance of meat led French farmers to convert their meat herds (often boys) to dairy-producers (girls), which led to more milk and even too much milk, which led to a market flooded with cheese. Boullier made his first cheese grater out of pewter to grate hard, sometimes dried out cheeses, which turned them into a sort of condiment. Pewter is known as a rather soft metal, and Boullier’s original grater is reportedly on display in a museum in Le Havre, France. Isaac Hunt wanted to stretch cheese due to a shortage in England, so he grated and melted it for Welsh rarebit and other dishes. Grating cheese allowed more even distribution of the cheese to melt it in cooking and still does. During the Great Depression of the 1930s, Philadelphia cheesemonger and entrepreneur Jeffrey Taylor also wanted to stretch cheese for to bulk up cheese features, including vegetables, to make them look like more filling food during difficult economic times. Taylor read about Boullier’s invention and made his own by sharpening the holes of a metal shower drain. For the last century, many companies have tried to improve the cheese grater and invent a new “latest” one that we all must-have. Graters are now made of all sorts of materials including bamboo, wood, and various metals. Some are decorated with clowns’ heads, some are shaped like plastic frogs, while others bear knuckle protectors. They vary in size, shape, and function. Grating slots come with different angles and shapes of slots and can grate everything from zucchini, onions and cheese, to cooked eggs, coconut, potatoes, cabbage, and lemon and orange peel, and possibly even create wood shavings. Smaller graters grate ginger and garlic. https://www.cheeseprofessor.com/blog/antique-cheese-gratersThe grater has been used for hundreds of years and has proved its worth in the kitchen throughout history.Grater metal (3 parts) Tripartite with hinges for folding.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, grater

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. WHAT IS SIGNIFICANT? [From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 Victorian Heritage Register http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021)] The former Labassa Conservatory is believed to have been built as part of the extensive reworking of the Labassa estate in c1890 for the new owner Alexander Robertson, proprietor of the Cobb and Co line. Robertson commissioned the architect JAB Koch to remodel the house, and Koch may have been responsible for the conservatory as well. Alternatively, the conservatory may have been imported. The gates installed at Labassa in 1890 were manufactured by the MacFarlane foundry of Glasgow, Scotland, a firm known to have manufactured conservatories. Around 1917 the glass house from 'Labassa', Caulfield was offered for sale to Malvern Council for its own gardens but the offer was declined. Following subdivision of the Labassa estate in the 1920s the conservatory was converted into a residence. The structure has a simple rectangular plan, with a brick base and superstructure of cast iron columns and roof trusses. The hipped roof is surmounted by an elaborately decorated gable structure. Most of the original glass has been replaced by metal sheeting. The decoration comprises pressed metal fascias including an egg and dart style cornice moulding, mullion mouldings and gable end panels with a rising sun motif. Cast iron ridgework and finials add to the lively roof form. Internally the floor appears to have been raised as part of the conversion work to a residence, and stained timber panelling introduced to provide room spaces. Boilers probably heated the conservatory in the colder months, but these do not survive.From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021) HOW IS IT SIGNIFICANT? The former Labassa Conservatory is of historical and architectural significance to the State of Victoria. WHY IS IT SIGNIFICANT? The former Labassa Conservatory is historically significant for its associations with the Labassa estate. Subdivision of the estate separated a number of outbuildings from the mansion. The former conservatory is significant as part of the large scale improvements carried out to the estate in the 1890s. The nineteenth century was the great age of conservatory designs, enabled by technological developments in heating, glazing and iron. Whilst conservatories were common in botanical gardens and universities, where they were primarily used for cultivating, studying, and experimenting with plants, they had also become an accessory of the wealthy on private estates. The former Labassa conservatory is architecturally significant as a rare example of a building type. Many Victorian mansion houses had attached conservatories, but detached conservatories were much less common. The only other detached example associated with a residence known to survive on its original site in Victoria is an earlier example at Warrock homestead, near Casterton. Conservatories attached to nineteenth century mansions are far more numerous. The Labassa example is very ornate, and its decoration draws on the versatility of pressed metal and cast iron. This highlights the dual purpose of the conservatory, as both a functional structure and a picturesque building on the Labassa estate. This building is unusual as an example converted to residential use. Page 130 of Photograph Album with one portrait photograph of Labassa's conservatory.Handwritten: "Labassa" conservatory 21 Manor Grove [top right] /130 [bottom right]bracketed eaves, caulfield north, labassa, balaclava road, orrong road, sylliott hill, alexander william robertson, ontario, john a. b. koch, john boyd watson, mouldings, 1920's, la bassa, manor grove, st kilda east, architects, john koch, greenhouses, gardens, plants, land subdivisions, gates, macfarlane foundry, brick, cast iron work, hipped roofs, gables, 1890's

Dedicated to the Patriotic Fowl.|Inside the cup.China Egg Cup. White china decorated with green laurel leaves with Royal Insignia.Made by the girls of Staffordshire during the winter of 1917 while the boys were fighting in the trenches for liberty and civilization.domestic items, crockery

Biscuit tin: late 19th century Swallow & Ariell operated continuously in Port Melbourne from 1858 to 1991. The former Swallow & Ariell’s factory buildings, now The Anchorage, continue to add interest and pleasure along Stokes, Rouse and Princes Streets. Thomas Swallow, born in Reading, travelled to California and Ballarat before setting up a business making ships biscuits in Port Melbourne. His business partner Ariell died in 1877. He then went into partnership with Frederick Derham, his son in law. Company farms around Shepparton provided much of its wheat, and after 1889 most was ground into flour on the Port Melbourne premises. For the year ending 1 May 1920, the factory used 51 tons of butter, 2,740 eggs and produced more than 66 lines of biscuits. They also made puddings, elaborate cakes and ice cream. S & A was a significant employer – locally referred to as S & A College. At the height of the South African war it employed 1900 workers but even in 1991 it employed 450 people.Pink and brown clover-shaped ornamental biscuit tin decorated with pictures of a girl (central panel), 2 dogs (lower section), 2 rabbits (upper left-side panel) and 2 birds (upper right-hand panel. It has floral designs around the outer edges of both the tin and the lid which is hinged at the top of the tin.Inside the lid: "Swallow & Ariell, Ltd. Biscuit Manufacturers, Port Melbourne. Prizes received at all international & inter-colonial exhibitions"biscuit tins, tins

Decorative object made by silversmith Ernest Leviny.Silver mounted emu egg goblet with detachable silver lid decorated with a kneeling Aboriginal figure holding weapons (spear is missing). Emu egg is mounted on a silver base with filigree acanthus leaf designwork on the stem, leading to four sprays on the egg surface with a rose, thistle and shamrock design. The inner egg is lined with a gold wash.Noneernest leviny, silversmithing, colonial silverware, castlemaine, emu egg goblet, buda, c 1859