3 invoices and receipts to J. Foley from St. Thomas The Apostle School for Christine and Julienon-fiction3 invoices and receipts to J. Foley from St. Thomas The Apostle Schoolst. thomas the apostle primary school, central road blackburn, foley j

The horseshoes in this purpose-built display case were made by Thomas Alfred Chapman in 1906-1907. Chapman operated a blacksmith’s shop in Mortlake Rd, Purnim, about 15 mins drive from Warrnambool. Chapman made this horseshoe case especially for the 3rd Exhibition of Australian Manufacturers and Products, held in the Exhibition Building in Melbourne, which was organised and promoted by the Australian Natives Association (ANA). Reference is made to the horseshoe case in the Exhibition’s Souvenir Catalogue of 1907 on page 85, under the heading 'In the Machinery Section the following exhibits are also shown … 'CHAPMAN, T.A. , Woolsthorpe, via Warrnambool, Case of Horseshoes'. The Australian Natives’ Association (ANA) were a non-partisan and non-sectarian, friendly society founded in Melbourne, Australia in April 1871. It was set-up for the benefit of Australian-born white men, and membership was restricted exclusively to that group. Men of other races including the Chinese and Indigenous people were not allowed to join. The ANA had relatively progressive views on women (for the time) and attracted suffragists seeking support for their cause, and in 1894, the ANA advocated for women’s enfranchisement. Although, white women were only admitted as members from 1964. The organisation was most prominent in Victoria and sought to shape Australia’s national identity and was a training ground for businessmen, trade unionists and politicians including many of Australia’s early prime ministers such as Edmund Barton, Alfred Deakin, James Scullin and Francis Forde, and the first Australian-born governor-general, Isaac Isaacs, was a member. By 1910 it had developed into a nationwide association with real political and social influence, and members would participate in many activities. The ANA lobbied strongly for anti-Chinese legislation and were an ardent believer of colonial unification. Its mission and efforts are largely credited for the successful referendums that resulted in Federation of the six Australian colonies into a new nation, the association’s most important legacy. The ANA was also a supporter of trade protection, and were a staunch advocate of the first act of Australia's new parliament, the Immigration Restriction Act 1901 (cth) or commonly known as the White Australia Policy, which became one of the central pillars of Australian nationalism in the 20th-century. The ANA campaigned against the Australian Federal Government's new immigration policy after the Second World War (non-British immigration from southern and central Europe) in order to maintain a 'white Australia', and resisted changes when the Labor government during the 1970s fully dismantled and abandoned the White Australia Policy. The ANA merged with Manchester Unity Independent Order of Oddfellows, in 1993 to become Australian Unity Ltd. The display case of horseshoes changed hands several times, going from its maker Thomas Chapman to his mother then various other members of his family. The case was also displayed at the Lee Family’s butcher shop at 188 Liebig St Warrnambool, and in the Purnim Hotel during the Warrnambool May Races. In the late 1950s the horseshoe case went to Thomas’s son, Brian. He was a Master Farrier and completed his apprenticeship at Flemington Racecourse, and in Warrnambool he owned a blacksmith business at the Warrnambool Racecourse Grounds. Brian later operated a blacksmith’s at Flagstaff Hill, where his customers would bring their horses to be shod. Brian passed away in August 2017. The horseshoe case is significant as an example of trades in the early 20th century in Western Victoria, Australia. It is also significant as an example of horseshoes from the early 20th century. The horseshoe display case is also significant for its association with the Australian Exhibition of 1907, showcasing Australian produce and manufacturing to the world. The horseshoe display case is locally significant for its association with local families, essential businesses and community events. Display case of homemade horseshoes. Wooden case with glass front containing 16 horse shoes grouped in sets, each set with a label: Made 1906-1907 for Australian Exhibition of 1907 by Thomas Alfred Chapman of Warrnambool. The case contains (a) complete chrome set each of Trotting Shoes, Hunting Shoes and Racing Plates, and (b) one pair of Hind Polo Shoes and one pair of Front Aluminium Shoes. The wooden frame has gold lettering on each side proclaiming “Australian Natives Association, T.A. Chapman, horse shoer, Warrnambool” and is topped by a painted Australian coat of arms. Gold lettering on frame, in the order of top/bottom/ left/right “AUSTRALIAN.NATIVES.ASSOCIATION / T.A. CHAPMAN / Horse Shoer / Warrnambool”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, horseshoe display case 1906-1907, chromed set of trotting shoes 1906-1907, chrome set of hunting shoes 1906-1907, chrome set of racing plates 1906-1907, pair of hind polo shoes 1906-1907, pair of front aluminium shoes 1906-1907, australian exhibition 1907, australian natives association (ana), t.a. chapman horse shoer warrnambool, thomas alfred chapman, brian chapman, brian “snacks” chapman, blacksmith warrnambool, warrnambool may races, warrnambool racecourse, purnim hotel, lee family’s butcher shop warrnambool

This work is part of Ham's five views of the gold fields of Mount Alexander and Ballarat in the colony of Victoria , drawn on the spot by David Tulloch , and engraved and engraved and published by Thomas Ham. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Coloured imaged of Forest Creek Diggings on Mount Alexanderlower centre "Forest Creek, Mt Alexander" lower left side "Drawn By D. Tulloch" lower right side "Engraved by Thomas Ham"art, artwork, forest creek, mount alexander, thomas ham, ham, david tulloch, tulloch, gold mining, bark hut, castlemaine

Photograph Album purchased on e-bay by Jane Wilson on 08.05.2011 for $50. G.A. Thomas graduated 1930.Black and white and sepia photographs and newspaper cuttings (NC). Many of the photographs are found in other albums from the same period. Label inside, "Burnley Snaps, G.A. Thomas, 'Essilmont', Castlemaine." Handwritten labels.burnley snaps, g.a. thomas, essilmont, castlemaine, students, recreation, lily ponds, students working outside, frank's point, rock point, the rockery, pavilion, principal's residence, staff, allender, edna walling, e.e. pescott, dahlias

Desmond (Bill) Thomas moved to Beechworth when he was one year old. He was born in 1923 and his family moved to Beechworth in 1924. His father was offered a job in Beechworth as a leather tanner. His first job was in the Tannery in Beechworth. However, in 1938 he was involved in a accident at the Tannery that resulted in him losing his arm. The Zwar Brothers acquired the Tannery in 1877 and it operated until 1961. His interests included bushwalking and nature. When he was younger he would often go ferreting instead of going to school. His favorite place to visit was near Stanley. This included Zwar's paddock and Eldorado. One of his first memories was when he went to Sunday School at the Methodist Church. He remembered Miss Peach as the Methodist Superintendent. He eventually had to leave that Sunday School because of his behavior. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Desmond (Bill) Thomas' oral history has important historical significance for the local Beechworth region. The Zwar Brother's Tannery was a large part of Beechworth and had a long history. Both Mr Thomas and his father has contributed to this history because they both worked there. Mr Thomas' both of the bush and nature demonstrates the history of ferreting and bushwalking in this region. Desmond (Bill) Thomas has made many contributions to his community but also the history of Beechworth. This life tells us many things about the struggles and joys of living in and around Beechworth. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Desmond (Bill) Thomasleather tanner, leather, beechworth tannery, tannery, tannery accident, bushwalking, bushland, nature, ferreting, school, sunday school, beechworth methodist church, church, baptist church, beechworth, oral history, recording, 1924, listen to what they say: voices of twentieth century beechworth, listen to what they say, jennifer williams, burke museum, zwar brother's beechworth tannery, zwar bros. tannery

Gouburn River Aboriginal Protectorate was published by BHS Publishing and written by Ian Clark. gouldburn river, aboriginal protectorate, aborigines, le souef, ian clark

HMS Nelson was a 126-gun ship of the line of the Royal Navy. Launched on 4 July 1814 at Woolwich Dockyard she was later converted into a screw ship in 1860, and was cut down to a two-decker and fitted with an engine of 2,102 indicated horsepower. In 1865, HMVS Nelson was given to the colony of Victoria as a training ship. She was outfitted and rigged for £42,000 and sailed for Australia in October 1867. Travelling via the Cape of Good Hope, she arrived in February 1868. She was the first ship to dock in the newly constructed Alfred Graving Dock in Williamstown, Victoria.Possibly the first training ship of the Victorian Navy which had a base in Swan Island in Queenscliffe.A black and white photograph of the sailing ship HMS later HMVS Nelson docked at the Alfred Graving Dock, Williamstown, 1872"Nelson" in Alfred Graving Dock Williamstown, Victoria 1872hms nelson, hmvs nelson, alfred graving dock, williamstown

Probate of the Will of John Henry Clark, photographer and bootmaker of Main Road, Eltham South granted to John Francis Carrucan of Dalton Street, Eltham, the Executor of the Will.bootmakers, j.h. clark photo, john francis carrucan, john henry clark, photographer, probate, prov, will

Last will and testament of John Henry Clark, photographer and bootmaker of Main Road, Eltham South. Appointed Executor John Francis Carrucan of Dalton Street, Eltham.bootmakers, j.h. clark photo, john francis carrucan, john henry clark, photographer, probate, prov, will

Professor Ernest Edgar Kurth of the University of Tasmania, invented a faster, simpler and cleaner way to produce charcoal on a continuous basis during the second world war. The charcoal was used to produce a combustible gas in motor cars, as a substitute for petrol, which was heavily rationed. The first batch of charcoal was produced in February 1942 and continued until the end of the war. Wood from stringybark trees was cut into lengths and fed into a kiln which converted it into charcoal. The Kiln is located on Beenak Road, 7km north of Gembrook. It has great historical significance, particularly as an alternative supplier of fuel during the second world war. It is a State Registered facility, managed by the Friends of Kirth Kiln and the park is managed by Parks Victoria Green soft covered book of 150 pages, with a photo of 2 men and a boy out in the bush with 3 fires burning.Contains a Prelude about Ernest Edgar Kurth written by Alfred Klink (2013) and a Foreward by John Sullivan (Heritage Officer of Parks Victoria). There is an Acknowledgement page, with recognition given to the grant provided by the Department of Sustainability, Environment, Water, Population and Communities. e.e. kurth, kirth kiln, charcoal kiln, parks victoria

Application to the Council of the Borough of Ringwood for a licence in respect of two pumps to be placed on the highway in Ringwood. Applicant Thomas Mathieson +Additional Keywords: Mathieson, Thomas

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

Two letters - Correspondence from Thomas Hart to Frederick Martell, 1898thomas stephen hart, ballarat field naturalists' club, ballarat school of mines, thomas hart, fredrick martell, stephen hart

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Lithograph showing the Commissioner's tent at Forest Creek lower centre "Commissioner's Tent & Officers' Quarters, Forest Creek" lower left side "Drawn By D. Tulloch" lower right side "Engraved by Thomas Ham" art, artwork, ham, thomas ham, david tulloch, forest creek, government camp, goldfield commissioner, tents, gold mining, flag

One of the first large goldfield meetings was at Castlemaine in 1851. After the extraordinary success of the Mt Alexander Diggings the Government issued a proclamation, raising the licence fee from thirty shillings to three pounds. As soon as these intentions became known a public meeting of miners was held. For miles around work ceased, with diggers travelling as far as Bendigo to attend the meeting. It is estimated that around 18,000 people attended the meeting. The notes with the engraving state The trees in this locality are chiefly Stringybark; some of them are peeled of their covering, as many persons prefer erecting bark huts to living in a comfortless tent. The various groups, and costumes of the men, are characteristic of our gold digging community. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Colour lithograph of a meeting of diggers at a meeting in Mt Alexander. The meeting was the result of goldfields agitations against the license fee. lower centre "Great Meeting of Gold Diggers Dec 15th 1851" lower left side "Drawn By D. Tulloch" lower right side "Engraved by Thomas Ham"art, artwork, ham, thomas ham, tulloch, castlemaine, goldfields agitation, printmaking, edition, coloured lithograph, david tulloch, gold pan, shovel, wheelbarrow, waggon, bark hut, ring barked tree, gold mining

Huttley - MartinOval Portrait of a main in a 3 piece suit. Woman on right arm cut offStawell On Reverse: Aklfred Thomas Huttley (I.E. Madge's) My father, also Ray & Lorna (Cleland). Grandfather of Trevor & Gladys Huttley. John, Alison, Keith & Janice (Hull) Born 1873? Died May 26 1947. Ageed 74 -75?huttley, martin

Signed l.r., red oil, "T. Clark". Not dated

Private JOHN THOMAS TAYLOR, no 2067, 24TH Battalion, Killed in Action on 21st August 1916, France. Lance Corporal ALFRED ALEXANDER PRIEST, No 5162, 6th Battalion, died of wounds in France, May 27, 1918.Memorabilia - framed story of two soldiers, in colour, using memorabilia of the soldiers and their lives. Printed on paper. Frame - black extruded plastic, glass front, cardboard backing.JOHN T. TAYLOR/ ALFRED A. PRIESTframed items, anzacs, eaglehawk

Framed computer assisted design bookplate.bookplate, framed bookplate, keith wingrove bookplate design award, keith wingrove memorial trust

Memoirs of Edward Miles early life .Only passing references to Ringwood.100 A4 typed pages. Unbound. Front page has blue printing 'Memoirs of Edward Thomas Miles' with B&W photo. +Additional Keywords: Miles, Edward Thomas Brooke, Elva (transcriber) / Brooke, Robyn (proof-reader)

With his hat on his head, possibly ready to go out, Elanora resident Munie Clark sits in a front lounge with windows that face the driveway.1 colour photograph of Elanora resident Munie Clarkassociation for the blind, elanora home (brighton), munie clark

Hard cover book featuring poems and photographs by former local resident of Ringwood, Victoria, Thomas Guest. Dedication reads "For my sister, Patricia Margaret Guest, 3 November, with love, Thomas John". Patricia is a member and former secretary of RDHS.

422 p. : ill., tables, maps, 17 plates ; 25 cm.ISBN 0522840086australia history

364 p., [10] p. of plates : ill., ports, 25 cm.australia history

491 p., plates : ill., ports, 25 cmISBN 052284054xaustralia history