Cypriot White Painted Ware from Middle/Late Bronze Age CyprusWith loop handle, the shoulder and globular body with traces of set lines. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeThe neck, handle (largely missing) and globular body are painted with a series of lines. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeWith round mouth, tall conical neck and loop handle with traces of painted lines and globular body. cypriot

Detachable bicycle lamp made of metal and with a globular glass light on a square metal box with a bracket for attaching to the front of the bicycle.

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgePainted lines adorn the narrow neck and loop handle, the globular body has crossed set of four painted lines. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeThe beaked spout and long neck have painted stripes joined by loop handle to globular body with painted striped panels and lines. cypriot

From the home of Mrs. Nell Sebire. Second wife of Thomas.Double globular bulged glass soda siphon covered in metal netting and inscribed metal (silver plated) tap dispenser on top. "Veritable Seltzogene D. Fevre Paris Marque Depster S" inscribed around metal piece.bottles, containers, carbonated water

Manufactured by Holden and Frost for the illumination on buggies during the period ca1900Manufactured and sold by Holden and FrostBlack painted steel carriage lamp. Opening right hand side, chimney and carry handle on top. Globular glass ball on side with inner red glass.buggies, lamp, civilian

Small clear glass vase with globular base and flanged neck. Base has projecting diamond pattern and neck has leaf-like design and scalloped design along edge.No visible markingsdomestic items, ornaments/ decorative, vase, flowers, diamond pattern, glass, small, ornament, decorative.

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeThe inside of the mouth has painted stripes which run to the loop handle, neck with lines, shoulder with diamonds, one cross-hatched and others crossed lines, globular body adorned with crossed sets of three lines. cypriot

Decorative glass bowl with clear green base colour yellowish white opaque lines in spiral pattern. Clear glass decorative flange trim on edge.ornaments, glass, globular, green, bowl.

Vessels for storing water such as these are common throughout the ages and evident in the pottery of the middle east, Mediterranean and Africa. Between 1880 and 1910 Bendigo Pottery produced these as part of their terracotta ware range. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery to produce tourism tableware and art pieces and the Civic Collection holds a number of important items within its collection.Polished terracotta water holder with saucer and stopper. Globular body with rounded base. The shoulders taper into long cylindrical neck, no handle or pouring spout. Surface is undecorated expect for two rings at base of neck. This is the smaller of the two. 0430a stopper; 0430b vessel; 0430c saucerNone foundbendigo pottery, george gutherie, city of greater bendigo tourism

Vessels for storing water such as these are common throughout the ages and evident in the pottery of the middle east, Mediterranean and Africa. Between 1880 and 1910 Bendigo Pottery produced these as part of their terracotta ware range. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative ware, as well as artistically, being responsible for training and supporting many local potters. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery to produce tourism tableware and art pieces and the Civic Collection holds a number of important items within its collection.Polished terracotta water holder with saucer and stopper. Globular body with rounded base. The shoulders taper into long cylindrical neck, no handle or pouring spout. Surface is undecorated except for two rings at base of neck. This is the larger of the two. 0431a stopper; 0431b vessel; 0431c saucerNone foundbendigo pottery, city of greater bendigo tourism, george guthrie

This design was modelled on Queen Victoria's nursery bottles and would have been in use during mid 1880s to the early 1900s. This item is very similar to the Alexandra Feeding Bottle featured in the Maws catalogue of 1868. It was named after the then Princess Alexandra of Wales, later Queen Alexandra. This model had a glass stopper and a long rubber tube which connected at one end to a teat and to a glass tube at the other. The fittings were very difficult to clean and would hold milk particles, making them a breeding ground for the formation of bacteria. Sterilisation of feeding bottles by boiling, and boiling of milk and water, were not practiced effectively at this time.Globular shaped feeding bottle embossed with a crown on the upper surface. Next of bottle fitted with a glass thread. Writing imprinted on front of bottle, inside a ring, reads "THE VICTORIA FEEDING BOTTLE". The bottle has a flat shaped bottom to allow it to balance on a surface while being used."THE VICTORIA FEEDING BOTTLE"infant feeding, infant care

Original 14 x 20 photograph mounted on card in archive box, some identities in photograph named, also black and white 20 x 25 copy.Black and white photograph of the crowd of people who attended the opening night of the new ballroom at Broomes Federal Hotel. Ballroom has coped ceiling of timber, decorative frieze across centre, globular light from ceiling, light globes set around wall projections. Lakes Entrance Victoriahotels, celebrations, architecture

Dark copper, possibly lacquered, jug with lid and handle but no spout. Body has horizontal bead around centre and two vertical beads. Globular shaped body with cylindrical neck. Lid is domed and internally fitted with a small arched handle on top. Rounded pouring handle which has been reinforced, on side of the jug connected to the body and neck."Q" imprinted on handled.containers, domestic, container, jug, kitchen, oil?

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel-thrown, globular earthenware vase with a fluted neck, The vase has three glazes, its exterior glaze is a mottled greenish black which has dripped onto the foot rim. Internally it is glazed in cream, while the four petalled flowers encased in buds that form the exterior decoration are highlighted in pink, as is the interior of the rim. The base is signed with the artist's signature.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola annie mcvicars, viola annie ayling

Cypriot White Painted Ware from the Middle/Late Cypriot Bronze Age.The interior with brown band, the angled rim with three sets of lines and wavy line between, a broad band on tall neck, pierced with two string holes, above and below, a broad band on flattened globular body with frieze of vertical lines flanked by wavy vertical lines and alternating with sets of two vertical wavy lines, to broad concentric band, the underside with broad band flanked by sets of stripes. cypriot

Watkins created his sculpture for an exhibition in Melbourne 1866: "I dressed the pillar about 2 foot 6 inches high and 16 inches square and proceeded to carve in each panel representation characteristic of Victoria 1st Panel a Kangaroo in a small scrub thicket, 2nd an Emu amongst a clump of little flowering correa; 3rd the Wimmera Down and on the 4th side my name and the date AD 1866 On the top of the pillar was an urn of globular form to represent the seed pod of the Eucalypti with spreading leaves underneath" Extract taken from 'Victoria's Wonderland' a Grampians history Monument now in private handsHeatherlie Quarry; Obelisk : Photo shows stone monument created by Francis Watkins using materials from quarry Photo shows two sided view of monument with large stone on topquarrying, mt difficult quarry

According to the 1912 Department of Mines Bulletin of the Geological Survey of Victoria, basalt covers a considerable portion of the Macedon area including Mount Macedon. Basalt is the most common form of rock underlying the earth's surface and is found in three kinds of rock forming environments: ocean divergent boundaries, oceanic hotspots, and mantle plumes and hotspots beneath continents.This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid mass, geological specimen in shades of grey and white. Hyalite is a colourless variety of opal. It occurs as globular and botryoidal masses and irregular crusts in volcanic and pegmatite environments where the silica deposits from the gas phase. Basalt is dark in colour, fine-grained igneous rock composed of plagioclase and pyroxene minerals. It is commonly formed as an extrusive rock, such as lava flow. It is one of the most common forms of rock underlying the earth's surface.burke museum, geological specimen, department of mines, geological survey of victoria, basalt, mount macedon, beechworth

4 object set. Object 1 a pink glass dish with leaved, V-shaped rim. Clear glass decorative flange underneath overhanging rim. Object 2 pink glass jug, tapered, with clear handle and decorative flange, clear glass decorative feet. Object 3 pink glass bowl, globular, with clear glass decorative peaked trimming around top. Slightly patterned exterior. Object 4 similar to object 3 but with more obvious pattern on main bowl exterior.ornaments, glass, moulded, ornament

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

Cypriot White Painted Ware from Middle/Late Bronze Age CyprusThe interior of the rim is lined with panels of four vertical lines, which continue to the loop handle. The exterior is adorned with two friezes of cross-hatched diamonds, the body with overlapped cross of four wavy lines. cypriot