The ceramic piece is one of four porcelain fragments washed up from the Loch Ard wreck near Port Campbell Victoria. These fragments resemble the foot and leg of a large bird and legend has it that another bird had drifted ashore at the same time the Loch Ard peacock. This figurine is on display at Flagstaff Hill Maritime Museum and regarded as the most valuable shipwreck relic. It is believed that all four fragments could belong to another peacock or a Minton porcelain stork that had been photographed in a Home Beautiful magazine in 1928. This stork appeared to be missing a leg and foot and experts have hypothesized that the four fragments could belong to this stork, the whereabouts of which are currently unknown. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Ceramic piece, broken with remnants of glaze. It has been shaped. It may be from a peacock leg section.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ceramic, porcelain, piece, fragment, ceramic bird, loch ard, shipwreck, salvage, recover, 1877, 1878, minton, shard

It is possible that this may have been a wedding present or gift to Roy Wines and or his family as his name is scratched on the bottom. Roy was married in 1924 in Warrnambool. Roy Arthur Wines was Born in 1897 in Mailors Flat Victoria Australia and Died in 1980 in Ballarat. Roy lived for a number of years in Warrnambool during his married life.A massed produced item that at the time was cheap to buy with no makers mark or date stamp thousands would have been produced using a mould to make the ceramic case in two half's by pouring liquid clay into the mould and then joining the half's together when cured. This item could have been produced in Holland at any number of pottery factories at this time for export in vast quantities.Ceramic clock; the mechanism is plated steel and set in a ceramic case with glass over the face. The ceramic base colour is white with royal blue ceramic colour to the front and sides only. The blue ceramic has been painted over with lime green house paint on the front and sides. An inscription of a handwritten name is on the case and a hard-to-read model or batch number is on the cast base. Handwritten "Roy Wines" Cast number "6072"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, clock, roy wines, ceramic, ceramic clock, horology, time keeper, travel clock, bedside clock, timepiece

As a potter I enjoy the fluidity of the clay and the ability to create beautiful forms from this plastic, sensuous material. It is a journey of discovery especially using local clays and materials to create timeless artifacts. The process of making an object from a fluid material, applying a liquid glaze then firing these works in a wood fired kiln for 45 hours is still fascinating to me. The magic of the results can be both exhilarating and disappointing. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) In 1982, I moved to the Tarra Valley in South Gippsland to build a house, studio and gallery. My main passion at the time was wood fired pottery. I was fascinated with the natural colours and unpredictability of the process. This lifestyle means long hours of work, many failures and a life of poverty. Having a young family meant I had to supplement my income working as a teacher. Wood fired pottery is ancient and seldom practiced art form. The beauty of wood firing is that nature has its way with manmade articles and it is this combination that makes each one of these works totally individual and impossible to reproduce. All works have been fired in a tunnel style wood fired kiln and a down draught wood kiln. The use of terrasigilata sourced from local clays and materials and traditional Japanese glazes help to create highly individual pots that are unique. The use of native hardwood for firing the kiln and creating ash glazes also gives the work a special quality. Many works have been fired multiple times. The use of seaweed and shells help to give each of these ceramic works a luminous natural beauty. These pieces have their imperfections the same as human beings who withstand the rigors of time. These pots are not always perfect, but it is these imperfections that make them individual, unique and intrinsically special. My kilns are like a painter’s palette: they allow me to paint the surfaces of my pots with flame and colour. I love the subtle qualities of the local clays and I have experimented with many types of clay from the local area. Kiln firing can be between 30 to 100 hours. The movement of the flames, the incredible colour variation and the unexpected results make this demanding process rewarding when all goes well. When purchasing my work you are purchasing part of me and 45 years of passion, creativity and individuality. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) John ROJO John Rojo was a Post Graduate Student at the Gippsland campus.Ceramic pot.ceramics, gippsland campus, alumni, john rojo, jan feder memorial ceramics collection

Item in the collection re Ron Bollard VX 14150, refer Cat No 5919P for his service details.Plate round ceramic, floral arrangement around outside, centre has a Coat of Arms with scrolls around with text, at bottom are years, "1945 - 1995"In Dutch, "Vit Dankbaardheid Voor 50 Jaar Vriheid" Meaning "out of gratitude for 50 years of Freedom"souvenirs, dutch, freedom, ceramic

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

Heavy, flat-sided baby’s feeding bowl, the design of which encourages the child to feed himself. A good example of a common household item.Round cream ceramic bowl with flat lip and straight sides which is straight on the inside and indented on the outside. “BABY’S PLATE “ written in brown on rim. Transfer of three young girls with one astride a black and white dog, in garden setting. Gold on rim.Baby’s plate.bowl, ceramic

Ceramic ink pou

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.Two ceramic artworks.art, artwork, ceramics, earthenware, louise curtis

Crockery used by the boarding students at Luther College. Luther was the first co-ed boarding school in Victoria, and had boarders living onsite until the early 1990s. Notice that the colours represent the 4 house colours!Ceramic plates and bowlsboarding school, crockery

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/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic

Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes. The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface. The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water. https://en.wikipedia.org/wiki/CeramicThe discovery and development of ceramics in numerous shapes, form and materials, revolutionised the world.White ceramic container, glazed with single groove around circumference near lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics

Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection

This ceramic tankard mug was produced for Melbourne Legacy to honour their Patron. The Patron of Legacy is usually the Governor of Victoria, since the very early days of Legacy. It appears to be taken from a photo of General Sir Dallas Brooks KCB, KCMG, DSO, KStJ., who was Governor of Victoria from 1949. The date made is unknown but it believed to be early 1950s. Similar mugs were produced to honour Legatees Stan Savige and Syd Birrell and were estimated to have been produced in late 1940's or early 1950s. A similar one was made for the Queen's coronation in 1953. The maker was the firm of EG Greenway, a pottery manufacturer, which was connected to Legatee Herb Greenway.Shows the importance of the patron that he was commemorated in a ceramic mug along with Syd Birrell and Stan Savige and the Queen.Cream ceramic mug with handle, with relief portrait of the patron of Legacy, under which is etched 'Our Patron' on one side, with a relief symbol of the Legacy Torch and Wreath of Laurel on the opposite side.'Our Patron' is etched under the relief portrait. Underneath etched makers marking, E.G. Greenway Pty Ltd. Australiasouvenir, patron, dallas brooks

Modern porcelain or ceramic doll, belonging to 6th generation of Henry and Martha Sebire. Emma & Karlee Jennings.Porcelain or ceramic doll with blue eyes and red lips. Wearing a long sleeved white lace and embroidered christening style dress with a matching bonnet, a ribbon bow is on the bodice of the dress, and two white buttons on the back of the dress. Towelling type cotton body with panties.dolls, baby dolls, toys, leisure objects

Round white ceramic plate with various royal, imperial and military gold emblems bordering an image of a brown building. Original cardboard box has also been retained.Front: "Commemorative Plate for the official opening of the Queen Elizabeth II Army Memorial Museum 15th October 1978" Back: "Queen Elizabeth II / Army Memorial Museum Plate / This plate has been created as one of 2,000 only, to commemorate the official opening of the Queen Elizabeth II Army Memorial Museum in Waiouru, by the Governor-General, Hist Excellency the Rt Hon Sir Keith Holyoake, GCMG, CH, on the 15th October 1978. / This plate design was authorised by the Chief of General Staff, Major General R.D.P. Hassett, CB, CBE, and approved by the New Zealand Herald of Arms. / 319"ceramic, commemorative plate, army memorial museum plate, army memorial museum

This handmade ceramic bottle was made and used for pouring ink to fill ink wells. Businesses such as banks and post offices provided ink and dip pens for their customers' use, along with blotting paper to dry their writing.This bottle is significant for being both and example of handmade bottles and for its association with earlier methods of writing.Bottle, cream coloured, glazed ceramic bottle, cylindrical shape, with spout and flared lip moulded into mouth of bottle. Hand made. Bottle was used for pouring ink. Inscription stamped into base. "82 PRICE" (illegible) Label provided with donation is marked "SLATER AND PALMER works: MARSHGATE MILLS, STRATFORD ESSEX"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ink and pen writing, ink pouring bottle, bank stationery equipment, writing with pen and ink

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 dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand built deep dish, glazed in maroon and green. The maroon ground includes a splash of green in the centre of the dish. This is the only ceramic piece in the collection that is both signed and dated.Signature to base: "V. Ayling / 1954"ceramics, pakington street -- kew (vic.), dishes, viola annie ayling, viola annie mcvicars

An ink bottle was made of glass or ceramic and typically sat on a desk. The writer would dip the pen (or quill) into the bottle to put more ink on the pen. Because they sat on a desk, ink bottles were often decorative. We have mostly dispensed with ink bottles and quills. This item is an example of early stationery equipment commonly used in schools, households and commercial enterprises.Small, squat, brown, salt-glazed ceramic inkwell with small opening at top. It has a short neck and a round squat body. This type of inkwell is also known as a penny ink well.container ink-bottle penny-inkwell stationery writing

Modern communications technology arrived on Gabo Island with the construction of the telegraph line from Eden to Gabo Island in 1870. This type of insulator was usually used with radio antennae wires, telegraph and radio antennae equipment. The items of telegraphic equipment comprise a number of ceramic and glass insulators of varying age and type. Five, knuckle-shaped white glazed ceramic examples are associated with radio antennae wires. In addition to insulators, there is a telephone insulator bracket made of metal with wooden pins. It was once attached to the top of a steel pole and some of these remain in situ along the former telegraph line. Telegraphic communication commenced at the Gabo Lightstation in 1870, just eight years after the lightstation opened. The line from Sydney reached Eden, NSW by 1868 and was then extended to Gabo with the costs shared equally by NSW and Victoria. It was initially carried on posts across the sea to the island but was changed to a line along the seabed after the posts were washed away. The first telegraph office was a timber building on east side of the assistants’ quarters. In 1887 a new concrete telegraph office was built which included quarters for the operator, with Victoria and NSW sharing the construction costs. The 1992 CMP identified remnants of the line from its various phases of operation, and these can still be seen in 2016. Other ceramic insulators in the collection are associated with lines supported on utility poles for the transmission of high voltage electricity. .The various insulators have second level significance for their historic value and provenanceFive white glazed ceramic insulators. Knuckle bone sized, oval shaped with one opening at either end. All five are the same.