Cocks Pioneer old mine timbers. Cocks Pioneer Electric Gold & Tin Mine Company was formed in 1899. The company's first power station, located at the eastern end of the valley began operating with its 340 Kilowatt steam-powered generator. By 1909, from 2,500,000 cubic yards worked, reported recovery was 17,284 ounces of gold and 224 tons of tin ore. By 1909, Cocks Pioneer’s power plant had become inadequate and uneconomical. The barge was floated downstream about a mile, but lost time caused the operations to cease. Following testing, a new mine was established by diverting Reid's Creek at a cost of £25 000. Settling dams were built, one of which held 1,935,900 cubic feet. Sold earth banks, built against a wall of stringy bark saplings constructed and laced with vertical props, were built. In 1914, the company was reformed as Cock’s Pioneer Gold and Tin Mines NL, another power station was constructed at the western end of the township, near the junction of Clear and Reid's Creeks. From 6,800,000 cubic yards of material processed, the returns were 64,397 ounces of gold and 855 ton of tin. Cocks Pioneer mine then moved the barge downs stream and continued sluicing. In 1929 Cocks Pioneer Electric Gold and Tin Mining Company ceased operations due to a drop in values. Cock’s Pioneer Gold and Tin Mines NL carried on large-scale hydraulic sluicing operations until 1941. mining, gold, tin, open cut, gold mining, tin mining, cocks pioneer, el dorado, eldorado

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

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. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire."(https://www.strathnairn.com.au/studios/artist-in-residence/montessa-maack-ursula-burgoyne-jen-lyall-and-vicki-grima-5ndd6, accessed 09 July 2021)Tony NANKERVIS Tony Nankervis taught ceramics from 1984 when the university was the Northern Rivers College of Advanced Education from 1984. before moving to Southern Cross University (SCU) in 1994. He retired from full time teaching in 2004. Nankervis was a pioneer of the long wood-fired ceramics technique in Australia: a technique he has been practising since the late 1970s 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. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire. There are particular qualities that only come from firing in that way, he said. "If you see some of these older ceramics, particularly from Asia, the surface qualities are discernible from the surfaces generated by post-Industrial fuels." (https://www.scu.edu.au/engage/news/latest-news/2004/leading-australian-potter-who-paints-with-fire-retires-from-lecturing-at-scu-after-19-years.php, accessed 09 July 2019)Three Lidded Woodfired Cylinders ceramics, jan feder memorial ceramics collection, tony nankervis, tony nankervic

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. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire."(https://www.strathnairn.com.au/studios/artist-in-residence/montessa-maack-ursula-burgoyne-jen-lyall-and-vicki-grima-5ndd6, accessed 09 July 2021)Tony NANKERVIS Tony Nankervis taught ceramics from 1984 when the university was the Northern Rivers College of Advanced Education from 1984. before moving to Southern Cross University (SCU) in 1994. He retired from full time teaching in 2004. Nankervis was a pioneer of the long wood-fired ceramics technique in Australia: a technique he has been practising since the late 1970s 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. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire. There are particular qualities that only come from firing in that way, he said. "If you see some of these older ceramics, particularly from Asia, the surface qualities are discernible from the surfaces generated by post-Industrial fuels." (https://www.scu.edu.au/engage/news/latest-news/2004/leading-australian-potter-who-paints-with-fire-retires-from-lecturing-at-scu-after-19-years.php, accessed 09 July 2019)Presented by the artistLidded Raku fired box, dry glazedceramics, jan feder memorial ceramics collection, tony nankervis, tony nankervic

These bottles were common in the late 1800's and 1900's. Bottle Nos 1 and 2 were made by Angus & Co, a Sydney company producing ink and gums (glue and clag) from about 1880 to 1920. Their products were sold in stoneware and glass containers in varying sizes. 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This bottle is missing. Nos. 3 and 4 The two tall thin Erven Lucas bottles with handles at the top were usually referred to as "Dutch Gins". In fact they actually contained "'Seltzer Spa water' or a form of Quinine Tonic, both supposed to be health drinks. These types of bottles first arrived in Australia with the Gold-seekers from Europe. Early samples are somewhat crudely made. The potter would have formed the bottle with a young apprentice applying the handle, name stamp and the glaze prior to being fired in the kiln. There is evidence of fingerprints from these processes on both samples.A collection of five handmade rare stoneware bottles with a salt glaze: 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This is missing. 2. Medium glazed brown pottery bottle with a pouring spout (Angus & Co Ink Commercial). 3. Medium glazed brown pottery bottle with a pouring spout (Bourne Denby). 4. Large glazed brown pottery bottle with a pouring spout (Bourne Denby). Sample is from England probably sold for 2/- or 2/6d. Two shillings or two shillings & sixpence. 5. and 6. Two tall thin brown pottery bottles, one with a broken cork stopper and one without a stopper with Erven Lucas Bols - Het Lootsje Amsterdam stamped at the top of both. They were usually referred to as "Dutch Gins". 6. Green/black bottle is a traditional Dutch Gin with tapering sides, which made it easy to remove from the mold after being blown by hand and the cork top was applied by an apprentice. This sample dates from approximately 1900. Earlier samples are very crude with later samples being machine made with embossing.(This bottle is missing, 13.10.2022). 2. 'Angus & Co Ink Commercial' 3 and 4. 'Bourne Denby' stamped inside an oval lined shape. 5. and 6.Erven Lucas Bols - Het Lootsje Amsterdambeverage bottles, bottles, storage containers, stoneware bottles