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Flagstaff Hill Maritime Museum and Village
Currency - Guinea Coin, The Royal Mint, 1793 George III Spade Guinea, 1793
... Georgian era... of Hanover coins gold coins gold medallion Georgian era 1793 ...The coin was discovered by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village. Her photograph was taken as she handed over her precious find, she told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The coin is a British 1793 George III Gold Spade Guinea. It was already 83 years old when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The coin is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its bent, scratched, buckled, split, dinted and worn condition is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. The GEORGE III GOLD SPADE GUINEA: - The British Guinea was introduced in 1663 and was circulated until 1814. It was made of 22 carat gold, was 25 to 26 cm in diameter and weighed 8.35 grams. It had a value of 21 British shillings. The guinea coin ceased circulation after 1816 and was replaced by the one-pound note. However, the term ‘guinea’ continued to represent 21 shillings. King George (1738-1820) had six gold guinea designs minted during his reign from 1760 and 1820. Each of the six had different obverse portraits, all facing the right. There were three different reverse sides. The Spade Guinea was the fifth issue of the coin, introduced in 1787 and produced until 1799. The reverse shows a royal crown over a flat-topped shield with the Royal Arms of Great Britain, used in Scotland between 1714 and 1800. The shield images are, from left to right, top to bottom, the Arms of England and Scotland, the Arms of France, the Arms of Ireland, and the Arms of the House of Hanover. The Gold Guinea is also part of Australia’s history. It was the first coin mentioned in the announcement of Governor King of New South Wales his Australian Proclamation of a limited variety and denomination of coins accepted for use in the Australian Colony. The historic and decorative George III Spade Guinea has been reproduced for special collections of coins. However, replicas and imitations have also been made as souvenirs for tourists, as gaming tokens and chips for gamblers, and as ‘fake’ coins for profit. These coins differ in many ways; they may be only half the weight of the genuine coin. Often have a small stamp on the obverse with “COPY” or the manufacturer’s name or initials. Some have scalloped edges, some have dates that are different to the original dates of issue, and some even have text in Latin that translates as something very different to the original coin.The King George III Guinea was only produced from 1663 to 1814 and was the first English coin to be mechanically minted. The coin is the fifth edition of the King George III Guinea, the Spade Guinea, was only produced between 1787 and 1799. It is the only edition with this portrait of King George and the only one with the Royal Coat of Arms of Great Britain in Scotland on the reverse side. This edition was also the last guinea in circulation, because the sixth edition was reserved as the Military guinea. This edition of the Guinea is unique; This coin is the only guinea in our collection. It was minted in 1793, so it is now over 230 years old. The Gold Guinea is part of Australia’s history; it was the first coin in the list of coins for use in the Australian Colonies, mentioned by Governor King of New South Wales in his Australian Proclamation speech of 1800. The George III Spade Guinea was included in the Limited Edition Sherwood 12 Coin Collection of Notable Coinage of Australia. This coin is the only known guinea coin recovered from the wreck of the Loch Ard. It was already 85 years old when the ship was wrecked.Gold coin; British. 1793, King George III of the United Kingdom of Great Britain and Ireland (1760-1820), Spade Guinea. Yellow gold coin with gold metal loop mount and a gold ring through the loop. The design is the fifth issue of the George III Gold Guinea. The obverse relief is a portrait of George III facing right. Reverse relief is a crown above the Coats of Arms (1801-1816) of flat top spade-shaped shield divided into four quadrants that depict crowned lions, fleur de lies, a harp. These images are identified as, from left to right, top to bottom, England and Scotland, France, Ireland and Hanover. Inscriptions are minted around the rims of each side. The coin is dated 1793. Its surface has dark areas on both sides and the reed edge and surfaces are well worn. The loop mount is bent and the ring is buckled. The coin was recovered from the wreck of the ship Loch Ard.Obverse text; 'GEORGIVS III DEI GRATIA' (translates to George the Third, by the Grace of God) Obverse relief; (King George III bust, facing right, laurel wreath on head) Reverse text; 'M.B.E.ET.H.REX.F. D.B.ET.L.D. S.R.I.A.T.ET.E' '1793' (translates to: King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire) Reverse relief; a spade-shaped image i.e. (Crown with fleer de lies, above Shield with crowned lions in different postures, a harp, and other details)flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, royal mint, british coin, currency, guinea, military guinea, australian currency, british guinea, gold coin, spade guinea, king george iii, george iii, fifth portrait, arms of england and scotland, arms of france, arms of ireland, arms of the house of hanover, coins, gold coins, gold medallion, georgian era, 1793, numismatics, contamination phenomena, gold corrosion, good luck, lucky charm, pendant, lucky coin, trade, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, guinea coin, gold guinea, shipwreck artefact, relic, julie wilkins -
Churchill Island Heritage Farm
Furniture - Candlestick
... Georgian era brass candlestick with square pedestal base... Churchill Island VIC phillip-island-and-the-bass-coast Nil. Georgian ...Georgian era brass candlestick with square pedestal base and bulb-shaped centre. On Left.Nil. -
Churchill Island Heritage Farm
Functional object - Spice Box, c. 1820
... Georgian-era spice tin. Black, hinged domed lid, with six.... churchill island kitchen utensils spice box Georgian-era spice tin ...Spices were used in abundance in Georgian cooking. This was mostly due to the British expansionist policy and their increased colonisation through the world. Spices became more readily available, and the most popular were nutmeg, cardamon, cloves, and peppers. These were often combined and used on meats and poultry to conceal the unusual flavours that was a result of the absence of a refrigerator. The grater that accompanies the spice box was a popular utensil in colonial kitchens and was used for nutmeg as it was recommended to be freshly grated. This spice box is a part of the Churchill Island Heritage collection because it was an important element in a typical Georgian kitchen (1714 - 1830) and later. It represents the type of item that was used within Amess House.Georgian-era spice tin. Black, hinged domed lid, with six compartments and a separate nutmeg grater. churchill island, kitchen, utensils, spice box -
Churchill Island Heritage Farm
Furniture - Candlestick
... Georgian era brass candlestick with round base, shaped stem... Churchill Island VIC phillip-island-and-the-bass-coast Nil. Georgian ...Georgian era brass candlestick with round base, shaped stem tapered towards the bottom with a flared top. On right.Nil. -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon
... . Widespread use and the modern size dates back to the Georgian era... to the Georgian era. The teaspoon is first mentioned in an advertisement ...The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Eltham District Historical Society Inc
Book, David Rathgen, No Place Quite Like It; The family history of Walter Withers and Fanny Flinn, 2023
... the Georgian era, English society changed and the Withers family... the Georgian era, English society changed and the Withers family ...Summary For over 250 years the Withers family of Birmingham worked as tailors, sometimes also as butchers. During the Georgian era, English society changed and the Withers family with it. First came a gentleman amateur artist in the form of Edward Weston Withers, grandfather of Walter Withers. Then Edwin Withers, Walter Withers' father, took to tobacco, rope and twine manufacturing which put an end to the traditions of butchery and tailoring.The origins of Walter's painterly ambitions are explored. There was a physical altercation between Walter and his father, Edwin. That fight emerged out of contradictory expectations between Walter's father, Edwin and his grandfather Edward. Those expectations and the societies which kindled them contributed to Walter's character and art. Up until now there has been no family history about Walter Herbert Withers (1854-1914) a notable Australian landscape artist of the Heidelberg school and friend to Tom Roberts, Frederick McCubbin, Arthur Streeton and Clara Southern. Walter, the son of a rich Victorian businessman, married Fanny Flinn, the daughter of a commercial salesman who also owned part of a Birmingham brewery. In No Place Quite Like It, Walter, his wife Fanny and his family are depicted against the social contexts in which they each grew up. Our appreciation of Walter Withers' art is expanded: by knowing those forces which helped shape his early years and how he responded to them; by gaining new insights into his origins and how he grew into the man he was. We also gain a fresh appreciation of his wife Fanny, and the influence she had upon him, their children, and upon the society in which she lived. Includes 200 pages of text, Prefaces by Andrew Mackenzie OAM (art historian), and Eileen Mackley AM (President, Victorian Artists Society), Bibliography and an Index, extensive images, maps, charts and family trees, provide a visual porthole through which an insight might be had into the lives and times of Walter Withers and his family history.walter withers, fanny withers (nee flinn), family history -
Churchill Island Heritage Farm
Textile - Lace Trim
... and in the late Georgian and Victorian eras, ladies of the nobility sought... lessened gradually and in the late Georgian and Victorian eras ...This sample of lace trim is Torchon lace in the Cluny style with the geometric pattern and the classic wheat ears/leaves appearing between the filled ‘v’ shapes. At 5cm in width, it would be a beautiful trim or insert piece on bed linen and undergarments. It would certainly have been made on a Barmen machine. The Barmen lace machine was developed in Germany on the 1890s. Its bobbins imitated the movement of the bobbins of a handmade lace maker and it made perfect copies of Torchon and other similar bobbin laces. This style of bobbin lace was the simplest to make and therefore the cheapest lace to buy. In the Elizabethan era, the wearing of lace was reserved for the nobility and anyone of lesser standing than a knight who dared to wear lace would be publicly whipped. As the years passed, the restrictions lessened gradually and in the late Georgian and Victorian eras, ladies of the nobility sought to perform good deeds by teaching women and girls of the poorer classes to make lace and thus it became known as beggars lace. Bobbins were expensive and use was made of animal bones and even fish bones to perform as bobbins therefore another common name was bone lace. Many noble women entered a religious order and these nuns would also teach to skill to willing participants as well as making lace for clerical garments. Although the monarchy restricted the wearing of lace for some time, many royal figures in history did a great deal to popularise it. Two noteworthy examples were Queen Adelaide (1792-1849) and Queen Victoria (1819-1901).The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.machine made Torchon and Cluny lace trim with both edges similar, v shape design and 8 braid geometric design in centrechurchill island, lace, janet amess lace collection, amess, trim, torchon, cluny -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
... Georgian and Victorian eras ladies of the nobility sought... lessened gradually and in the late Georgian and Victorian eras ...This sample of lace trim is Torchon lace in the Cluny style with the geometric pattern and the classic wheat ears/leaves appearing between the filled ‘v’ shapes. At 5cm in width it would be a beautiful trim or insert piece on bed linen and undergarments. It would certainly have been made on a Barmen machine. The Barmen lace machine was developed in Germany on the 1890s. Its bobbins imitated the movement of the bobbins of a handmade lace maker and it made perfect copies of Torchon and other similar bobbin laces. This style of bobbin lace was the simplest to make and therefore the cheapest lace to buy. In the Elizabethan era the wearing of lace was reserved for the nobility and anyone of lesser standing than a knight who dared to wear lace would be publicly whipped. As the years passed the restrictions lessened gradually and in the late Georgian and Victorian eras ladies of the nobility sought to perform good deeds by teaching women and girls of the poorer classes to make lace and thus it became known as beggars lace. Bobbins were expensive and use was made of animal bones and even fish bones to perform as bobbins therefore another common name was bone lace. Many noble women entered a religious order and these nuns would also teach to skill to willing participants as well as making lace for clerical garments. Although the monarchy restricted the wearing of lace for some time, many royal figures in history did a great deal to popularize it. Two noteworthy examples were Queen Adelaide (1792-1849) and Queen Victoria.(1819-1901).The Amess family owned Churchill Island from 1872 to 1929. This lace collection was added to and refined over the course of three successive generations of women.Machine made Torchon lace in Cluny style, with geometric patterns and wheat design, probably on a Barman (Swiss) machine. janet amess lace collection, churchill island, lace, trim, amess, barman, machine -
Churchill Island Heritage Farm
Clothing - Mob Cap, Budoir
A mob cap was worn over the hair when indoors working and a hat could be placed over it when going outdoors. It was quite reasonable to receive visitors while wearing a mob cap. This cap has been labelled as a ‘boudoir’ cap to be worn over curlers or to keep a lady’s hair in place overnight. It is made of cotton and has beautiful torchon lace inserts with the same lace trim around the edge. This torchon lace is a handmade bobbin lace using soft cotton thread.in a simple design of filled diamonds alternating with spiders. These caps were worn by women in Georgian times and called a ‘bonnet’. The term ‘mobcap’ may have come from the Dutch or French languages but the name was cemented during the French Revolution when most of the revolutionary women were wearing these caps. During the Victorian era they were mostly worn by servants or nurses.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. white cotton mob cap, with central lace section in the form of a crossPackaged with note: "White cotton handmade lace mob cap"lace, lace collection, churchill island