Photograph. The Patricia Coles (nee McLean) Collection. Golden Square Football Club Committee 1935. Original committee. Copy of a black and white photograph of 14 men, 5 seated, posed outside a timber building. Named as follows : Standing from Left - Unknown, Joe Schotterlein (employed Bendigo Advertiser), Laurie Ryan (hairdresser Golden Square), Sam Rance, Tom Brasier (Constable, Golden Square Police), Tom Whitlock (storekeeper, the old premises still stands on corner of Ophir / McKenzie?), S. Rolls, Unknown, William George Turner (Bill) (Captain Golden Square Fire Brigade, Chairman for 2 years of Country Fire Authority, Golden Square ALP, died 8/11/1943 age 47). Seated: Herb Hamill (Secretary for many years), E. Jones (Jones Hay &? Corn store, Laurel St.), Dr E. W. Turner (President), Dr P. Goodman (Vice President), Tom McLean (Vice President, Hotelier United Kingdom Hotel Golden Square). The above are named in a letter dated 7 March 2013 from John Turner, son of Bill. ** Note: there is a discrepancy between Patricia Coles and John Turner re. Names of those seated. From John's letter: 'Dad always dreamed of a team in the Bendigo League. Called some influential citizens and called a meeting at GS Fire Brigade which resulted in team being formed. First coach Alan (Snodger) Arthur. First game v Kyneton at Golden Square on April 27 1935. Possibly won a game or two in 1935 + 1936. 1937 in the Four, and 1938 Premiers (under Ree? Ford).. .. The Annual Report 1935 shows - President - Dr E W Turner, Vice Presidents - Dr P Goodman, T McLean, J McCabe, J Potter, A ? Cook (MLA) J Dutton, S Nixon, W Matthews Committee - W Turner, F Wilson, L Ryan, T? Bond, T Whitlock, W Henderson, W White, J Christopher, J Schotterlein, S Rance. Player Reps - A Arthur (coach), R Lee, C Rowe, T McMahon, G Whiteside. Time Keeper - J Harper. Surgeons - Dr Turner, Dr Goodman. Dentist - Mr W Batchelder. Solicitor - Mr E Hynam. Auditor - J J Potter, E Hynam. Treasurer - Mr E Jones. Assist Sec - Constable Tom Brasier. Secretary - Herb Hammill.' See also Jim Evans article in Bendigo Advertiser, February 28 2013, a copy of which is included in the collection.clubs, football, golden square football club, golden square football club.

Situated at 965 Main Road adjacent to the Eltham Railway Station, the Country Art Store was originally a hairdresser and Tattersalls agency In 1968 Pam Robinson and Caroline Shenton opened a small shop on the corner of Main Road and Napoleon Street. Four months later a damaged fire hyrdant flooded the store and ruined all their stock. The pair moved to the former hardresser shop at 965 Main Road, adjacent to the Eltham Railway Station, opposite the Stationmaster's house and opened the Country Art Store and adjacent gallery. At the time the only other shop selling pottery was the Potters Cottage in Warrandyte. During the 1970s the gallery was the Wiregrass Gallery. In 1993, after 25 years operating the Country Art Store, the pair decided to sell up and move to warmer climates. During the course of their business a number of craft shops and galleries opened and closed in Eltham. One such shop was Bimbadeen, next to Ansell and Muir's chicken shop opposite Eltham Lower Park. That business run by Don Brown, then a local artist was taken over as River Clay run by Leo Haanappel and Coeny Dommers but ultimately sat in a flood plain and was demolished. When the Country Art Store became available in 1993, Leo Haanappel and Coeny Dommers took it over. The premises became Platform 3095 cafe around 2015.Old Property at Eltha Station E. Foremanart store, country art store, country art store (eltham), eltham railway station, platform 3095, restaurants, shops, wiregrass gallery

Promotional pack created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2004. "Products of Choice" is how the graduands "collectively believed represented who they are and what they are striving to be." Each of the 24 graduating students designed and produced a suite of 10 badges (240 unique 35mm badges in total), hand assembled on the faculty badge making machine. One of each student's badges was then hand packed into a foam mount within a plastic case. Ie. All 24 students are represented in each limited edition case. Their original corresponding order is outlined on the reverse of the pack. (Note, it is possible badges may have been reordered prior to entering the collection.) Recipients were encouraged to choose and wear the badges. Lecturing staff (third year): Helmut Stenzel, Leigh Whetter, Nic Wai. Students listed: Judd Madden, Bonnie Van De Ven, Andrew Jones, Ben Potter, Arindel Searby, Catherine Martin, Lou Bryan, Zara Costello, Emily French, Agnes Ostrozka, Clare Simons, Daniel Frawley, Angelika Gorna, Elizabeth Walcott, George Bush, Mark Bickerdike, Stacey Dekker, Petreen D'Costa, Nick Oeldrich, Matt Deutscher, Narelle Craven, Sonia James, Alistair Burn, Thomas Jolly.Three cases of a limited edition run of 240 packs, each containing 24 badges. Limited edition pack numbers 217, 221 and 104. Badges printed full colour laserprinted. Pack cover, printed red with edition number hand written in black marker. Back cover in printed black.university of ballarat, federation university, graphic design, multimedia, judd madden, bonnie van de ven, andrew jones, ben potter, arindel searby, catherine martin, lou bryan, zara costello, emily french, agnes ostrozka, clare simons, daniel frawley, angelika gorna, elizabeth walcott, george bush, mark bickerdike, stacey dekker, petreen d'costa, nick oeldrich, matt deutscher, narelle craven, sonia james, alistair burn, thomas jolly., helmut stenzel, leigh whetter, nic wai.

Pages feature student works, contacts and artist statements. Introduction by Associate Professor Richard Chew, Director, Arts Academy Ballarat and Gippsland, School of Arts. Notes ongoing adaptation to "challenges of living, working and learning with extended lockdowns and changing restrictions" of the Covid-19 pandemic. Last page features long list of staff and supporters as well as EYE committee. Inside back cover features sponsors. Catalogue includes Bachelor of Communication Design (3), Bachelor of Visual Arts (11), Bachelor of Fine Arts (Gippsland) (3), Honours (Gippsland) (2), Honours (Ballarat) (2), Graduate Diploma of Ceramics (1), Advanced Diploma of Graphic Design (3), Diploma of Graphic Design (8). Liam Smith, Taylah Fenwick, Zainab Zaidi, Beth Aldcock, Concetta McFall, Donna Morrison, Garth Horsfield, India Potter, Emmalie-Kate Bird, Kristen Britten, Kya Duro, Ruby Hyatt, Sarah Canham, Tayla Champion, Alix Machen, Curtis Anderson, Georgia Gooding, Molly Berry, Tracey Raine, Vienna Bischard, Lauren Matthews, Aaron Haywood, Aprille Cantillas, Jesse Noonan-Wade, Mahalia Howard, Aquila Tavai, Ashleigh Freeman, Jackson Begelhole, Jarli-Kai Humm, Marina Melenhorst, Pauline Whitbourne, Sam Katzer, Samuel Francis. Catalogue to accompany the Federation University, Bachelor of Visual Arts graduate exhibition, 2021. 60pp + 4pp cover, saddle-stitched book, full colour throughout.federation university, visual arts, graphic design, arts academy, camp street campus, exhibition, eye, end of year exhibition, liam smith, taylah fenwick, zainab zaidi, beth aldcock, concetta mcfall, donna morrison, garth horsfield, india potter, emmalie-kate bird, kristen britten, kya duro, ruby hyatt, sarah canham, tayla champion, alix machen, curtis anderson, georgia gooding, molly berry, tracey raine, vienna bischard, lauren matthews, aaron haywood, aprille cantillas, jesse noonan-wade, mahalia howard, aquila tavai, ashleigh freeman, jackson begelhole, jarli-kai humm, marina melenhorst, pauline whitbourne, sam katzer, samuel francis.

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (1878- 1942) of Baden Baden, in Germany on 6/8/1910 In August 8th 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne August and Frieda leased the Box Cottage in 1917 and raised 2 children Stefanie 1918-2006, and William 1920– 1997. August was a Monumental Mason / Potter / Sculptor and he was employed at Corbens Ltd Clifton Hill, to make the World War 1 Memorials for many Victorian towns c1920. This Soldier Statue at Coleraine was typical of many carved by August, however it was not usual for him to sign this work .Records have only been found for the Towns of Boort, Morewell and Coleraine. Other Soldier statue memorials in the same style are at Myrtleford, Benalla, Bonnie Doon and Yarck and possibly other towns. August purchased the property 1935,and established a pressed concrete business using the cottage as a workshop and storeroom After August died in 1951, William, his son, continued to work in the business from the site until the land was sold to Lewis Co. Ltd Timber Merchants in 1970. Rietman's Landscaping Ltd moved to Bay Road Highett 1953 and later to Carrum. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.a) Photograph , colour of the WW1 Memorial at Coleraine, Victoria carved by August Rietman st Corbens Ltd. c1921. b) Letter from The Secretary of the Coleraine Fallen Soldiers' Memorial Funda) Handwritten information b) Typed letter signed by Goldbergrietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, box cottage ormond, box elizab

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, salt glazed stoneware, beige, sealed with wax, discolouration above base. Inscriptions stamped near base. Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line] flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, john chance, antique bottle, william johnstone

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with wax, some discolouration above base. Inscription stamped near base..Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, part sealed with wax and cork, very little discolouration. Inscriptions stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with cork, no discolouration . Inscriptions stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, large chip on lip of bottle. Inscription stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837 when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with cork and wax, discolouration on upper part. Inscription stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone

Bendigo Operatic Society ''Annie Get Your Gun'' At the Capital Theatre View Street Bendigo for a Six Night Season Commencing Thursday 18th November,1971. Producer: Max Collis. Assistant Producer, Bellet and Wardrobe Mistress: Madge Welch. Society Pianist: Ruth Gorman. Musical Director: Gwen Grose. Cast: Kerry Lorenz as a Small Girl - Ferd Lorenz as Charlie Davenport - Shane Brennan as Mac (Property Manager) - Douglas Sayle as Foster Wilson - Ann Ball as Dolly Tate - Annette Beckwith as Winnie Tate - Terry Carr as Tommy Keeler - Len Carr as Frank Butler - Heather Lindhe as Annie Oakley - Mark Edebone, Peter Miller as Little Jake - Debbie Moyle, Rosemarie Favaloro as Nellie - Jennifer Carr, Cathy Johnson as Jessie - Judith Hall, Suzanne Hartley as Minnie - Brian Thomas as Col.Wm F. Cody - Valerie Griffith as Mrs. Little Horse - Wilma Baldwin as Mrs. Black Tooth - Kerry Hogan as Trainman - Bridgette Agnew as Waitress - John Tonkin as Conductor - Bernard Keogh as Major Gordon Lillie (Pawnee Bill) - Fred trewarn as Chief Sitting Bull - Ann Rundall as Wild Horse Ceremonial Dancer - Jan Lovett as Sylvia Potter Porter - Jill James as Mrs. Adamsprogram, theatre, bendigo operatic society

Limited edition (#217) promotional pack created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2004. "Products of Choice" is how the graduands "collectively believed represented who they are and what they are striving to be." Each of the 24 graduating students designed and produced a suite of 10 badges (240 unique 35mm badges in total), hand assembled on the faculty badge making machine. One of each student's badges was then hand packed into a foam mount within a plastic case. Ie. All 24 students are represented in each limited edition case. Their original corresponding order is outlined on the reverse of the pack. (Note, it is possible badges may have been reordered prior to entering the collection.) Recipients were encouraged to choose and wear the badges. Lecturing staff (third year): Helmut Stenzel, Leigh Whetter, Nic Wai. Students listed: Judd Madden, Bonnie Van De Ven, Andrew Jones, Ben Potter, Arindel Searby, Catherine Martin, Lou Bryan, Zara Costello, Emily French, Agnes Ostrozka, Clare Simons, Daniel Frawley, Angelika Gorna, Elizabeth Walcott, George Bush, Mark Bickerdike, Stacey Dekker, Petreen D'Costa, Nick Oeldrich, Matt Deutscher, Narelle Craven, Sonia James, Alistair Burn, Thomas Jolly.Three cases of a limited edition run of 240 packs, each containing 24 badges. Case #217 of 240 is open to display badges. Badges printed full colour laserprinted. Pack cover, printed red with edition number hand written in black marker. Back cover in printed black.university of ballarat, federation university, graphic design, multimedia, judd madden, bonnie van de ven, andrew jones, ben potter, arindel searby, catherine martin, lou bryan, zara costello, emily french, agnes ostrozka, clare simons, daniel frawley, angelika gorna, elizabeth walcott, george bush, mark bickerdike, stacey dekker, petreen d'costa, nick oeldrich, matt deutscher, narelle craven, sonia james, alistair burn, thomas jolly., helmut stenzel, leigh whetter, nic wai.

Limited edition (#221) promotional pack created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2004. "Products of Choice" is how the graduands "collectively believed represented who they are and what they are striving to be." Each of the 24 graduating students designed and produced a suite of 10 badges (240 unique 35mm badges in total), hand assembled on the faculty badge making machine. One of each student's badges was then hand packed into a foam mount within a plastic case. Ie. All 24 students are represented in each limited edition case. Their original corresponding order is outlined on the reverse of the pack. (Note, it is possible badges may have been reordered prior to entering the collection.) Recipients were encouraged to choose and wear the badges. Lecturing staff (third year): Helmut Stenzel, Leigh Whetter, Nic Wai. Students listed: Judd Madden, Bonnie Van De Ven, Andrew Jones, Ben Potter, Arindel Searby, Catherine Martin, Lou Bryan, Zara Costello, Emily French, Agnes Ostrozka, Clare Simons, Daniel Frawley, Angelika Gorna, Elizabeth Walcott, George Bush, Mark Bickerdike, Stacey Dekker, Petreen D'Costa, Nick Oeldrich, Matt Deutscher, Narelle Craven, Sonia James, Alistair Burn, Thomas Jolly.Three cases of a limited edition run of 240 packs, each containing 24 badges. Case #221 of 240 is open to display badges. Badges printed full colour laserprinted. Pack cover, printed red with edition number hand written in black marker. Back cover in printed black.university of ballarat, federation university, graphic design, multimedia, judd madden, bonnie van de ven, andrew jones, ben potter, arindel searby, catherine martin, lou bryan, zara costello, emily french, agnes ostrozka, clare simons, daniel frawley, angelika gorna, elizabeth walcott, george bush, mark bickerdike, stacey dekker, petreen d'costa, nick oeldrich, matt deutscher, narelle craven, sonia james, alistair burn, thomas jolly., helmut stenzel, leigh whetter, nic wai.

Limited edition (#104) promotional pack created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2004. "Products of Choice" is how the graduands "collectively believed represented who they are and what they are striving to be." Each of the 24 graduating students designed and produced a suite of 10 badges (240 unique 35mm badges in total), hand assembled on the faculty badge making machine. One of each student's badges was then hand packed into a foam mount within a plastic case. Ie. All 24 students are represented in each limited edition case. Their original corresponding order is outlined on the reverse of the pack. (Note, it is possible badges may have been reordered prior to entering the collection.) Recipients were encouraged to choose and wear the badges. Lecturing staff (third year): Helmut Stenzel, Leigh Whetter, Nic Wai. Students listed: Judd Madden, Bonnie Van De Ven, Andrew Jones, Ben Potter, Arindel Searby, Catherine Martin, Lou Bryan, Zara Costello, Emily French, Agnes Ostrozka, Clare Simons, Daniel Frawley, Angelika Gorna, Elizabeth Walcott, George Bush, Mark Bickerdike, Stacey Dekker, Petreen D'Costa, Nick Oeldrich, Matt Deutscher, Narelle Craven, Sonia James, Alistair Burn, Thomas Jolly.Three cases of a limited edition run of 240 packs, each containing 24 badges. Case #104 of 240 is open to display badges. One badge is missing from this case. Badges printed full colour laserprinted. Pack cover, printed red with edition number hand written in black marker. Back cover in printed black.university of ballarat, federation university, graphic design, multimedia, judd madden, bonnie van de ven, andrew jones, ben potter, arindel searby, catherine martin, lou bryan, zara costello, emily french, agnes ostrozka, clare simons, daniel frawley, angelika gorna, elizabeth walcott, george bush, mark bickerdike, stacey dekker, petreen d'costa, nick oeldrich, matt deutscher, narelle craven, sonia james, alistair burn, thomas jolly., helmut stenzel, leigh whetter, nic wai.

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietman's Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park.The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.a) Photograph Black & White August & Frieda Rietmann Wedding 6/8/1910 in Baden Baden ; b) Passport Photograph August Rietmann 1915; c) Photograph Frieda Rietmann 1915; d) Document Wedding Certificate August & Frieda Rietmann Baden Baden 1910a) b) c) Handwritten information d) Official Document in Germanrietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Documents a) Census 1914 Household Register Lustdorf, Switzerland; b) Census 1915 Household Register Lustdorf, Switzerland; c) Swiss Confederation Citizen ship I.D Pass Frieda Rietman 4/8/1915;Printed Government Documents in Swiss Language lustdorf switzerland, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,, box cottage museum ormond

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

Assay is a process of metallurgy and chemical analysis used to determine proportions of precious metals in ores and other metallurgy substances such as silver or gold. The process helps identify pollutants present within a sample and can indicate a high level of pollution in a mining site. Stoneware crucibles are used in the fire assay process due to their ability to withstand high temperatures. Fire assay is a three step process where by samples from the mine are ground in a find powder and then mixed with dry powder chemicals. This mixture is heated in a crucible to extreme temperatures (crucible fusion) until all of the powers fuse into a glass like slag. Once this reaction is complete, the contents are poured into a mold and cooled. In step three (known as cupellation) the mixture is separated in a fire assay cupel and once this is complete the cupel with reveal a small bead of precious metals. 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 potteries 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. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Two stoneware vessels of differing dimensions (0287.1 & .2). Unglazed and porous, showing extensive signs of use. Stamped and marked on the outside. 0287.2 has a shaped pouring lip. Six smaller items, coins, buttons (0287.3,.4,.5,.6,.7,.8) were found with the crucibles but their relationship to the assay items is unknown.0287.1; Large crucible; Bendigo Pottery / E. 0287.2; Small crucible: Pottery / C Icity of greater bendigo commerce, city of greater bendigo mining, making a nation exhibition

Under 19 squad 1985, players and officials. Back Row: K. Newman (committee), H. Sternfield (Physiotherapist), G. Zaharakis, B. Comben, A. MacDougall, A. Basset, G. Warry (Development Officer), A. MacKinnon, S. Potter, D. Castledine (Committee). Centre Row: J. Clifton (Trainer), P. Merson, M. Hailes, J. Smith, P. Albon, P. Starbuck, S. McMahon, B. Carter, H. Hetherton, W. Gilbert (Property Steward). Front Row. L. Jones (Head Trainer), R. Skein (Team Manager), J. Vincent (Committee), J. Hullin, B. Whitmore, D. Forbes, W. Burke, C. Thomson, D. Bolzonello (Doctor), J. Baker (Phys. Ed.), A. Espie (Committee), T. McLeod (Trainer), I. Aitken, M. Edwards, J. Dunlop, G. Southby (Coach), M. Hanna (Captain), D. McKay (Assistant Coach), P. Higgins, K. Rainsford, R. Lowrey, R. Walllis (Trainer). Sitting: G. Buck, W. Pepper, J D'Angelo, D. O'Farrell, J. Coburn, J. Cook, K. Lamont. Absent: L. Brunier, A. Dodds, S. Driscoll, D. Fitzgerald, M. Gallagher, G. Hatvani, P. Poursanidis, P. Ricci, A. Scott, D. Zerna, P. Wilkinson, S. Ralph, S. Willox. Note, much of club's correspondence records name as Roger Skien, not Skein as listed above.Includes a number of players who went on to play senior footballColour photograph mounted on cardboard backing.

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 and the Civic Collection holds a number of important items within its collection. This Sir Edmund Barton 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate his contribution to Australian politics. Edmund Barton became Australia’s first Prime Minister on New Year’s Day 1901, at a huge public ceremony in Centennial Park in Sydney. Reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series includes Edmund Barton, Alfred Deakin and Chris Watson. Glazed ceramic flask in the shape of Sir Edmund Barton. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; Sir Edmund / Barton / Prime Minister / of Australia / 1901 to 1908 Bendigo Pottery / LMTED / Edition Series / 110/1200 /Australia Signed lower centre; 'Frith'australian politics, bendigo pottery

Ironstone china pieces were common domestic items during the 19th to mid 20th century in many Australian households. This kind of china is not porcelain but porous earthenware, made of clay mixed with feldspar. Patented in 1813 by Charles James Mason in Staffordshire, England, it was an immediate success and became widely produced by a range of Staffordshire potters. J & G Meakin Pottery dates back to 1845 when James Meakin started a pottery business at Lane End in Staffordshire.nIn 1848 he moved the business to Hanley in Staffordshire, before retiring in 1852 and handing the business over to his two sons James and George, who carried on with the pottery, trading as J & G Meakin. The "SOL" and sun face trademarks were registered in 1912. The firm was taken over by the Wedgwood Group in 1970. In 2000, production under the Meakin name ceased. W. H. Grindley was founded at the Newfield Pottery in 1880 by William Harry Grindley (principal partner). Mr Turner and Mr Alfred Meakin were also involved. Early advertisements stated that they produced Earthenware and Ironstone China - particularly for the Canadian, United States, South American and Australian markets. The mark on this jug was used from c1891 until 1925. W. H. Grindley China was manufactured until 1991, making it one of the last Stoke on Trent potteries.These items are representative of a common domestic item used by households in the Wodonga district and throughout Australia, many manufactured specifically for the Australian market.A white ironstone jug and bowl. The jug features a leaf design embossed on the surface. The bowl has a small circle pattern around the rim. They are not as set as the jug bears the mark W. H. Grindley and the bowl was made by J & G Meakin.Underneath Bowl: above and below image of the sun: "IRONSTONE CHINA/ REGD. SOL 391413/ J & G MEAKIN/ENGLAND Underneath jug: above and below the royal insignia: ROYAL IRONSTONE CHINA / W.H. GRINDLEY & CO. / ENGLAND"ironstone, domestic items, staffordshire pottery

Coloured booklet of various scenes and buildings in and around Bendigo, titled Bendigo Victoria's Golden City. The front cover has a scene of Charing Cross looking towards Pall Mall. Inside the front cover is a very brief history and some Historical Buildings are mentioned. They are: Fortuna, Shamrock Hotel, Gold Mines Hotel, City Hall, Post Office, Law Courts, the Home for the Aged, Sacred Heart Cathedral, St. Paul's, Specimen Cottage, Log Lock-up and the Chinese Joss House. The coloured pictures inside are: The Central Deborah Gold Mine, Fortuna, Miner's Cottage, The Gold Mines Hotel, Victoria Hill, Bendigo Law Courts, Eaglehawk Log Lock-up, Look-out Tower Rosalind Park, Alexandra Fountain - Charing Cross, Conservatory Gardens with Law Courts in background, Inside the Conservatory, Bendigo Home & Hospital for the Aged - Victoria's 'White House', Sacred Heart Cathedral, Chinese Joss House, Chinese Joss House - Interior of the Main Temple, Bendigo Pottery - Potter at work, Bendigo Municipal Offices, Bendigo Institute of Technology at Flora Hill, Mt. Alvernia Hospital, Cobb & Co Coach, R Class Locomotive, Bendigo Tramcar, Lake Weeroona and Lake Eppalock Pumping Station. Some more attractions are mentioned inside the back cover. On the back cover is the Cenotaph - the only scale replica of the Whitehall Cenotaph - and Alexandra Fountain by night.Nucolorvue Productions Pty Ltdbendigo, tourism, photographs of bendigo icons, bendigo - victoria's golden city, fortuna, shamrock hotel, gold mines hotel, city hall, post office, law courts, home for the aged, victoria's 'white house', sacred heart cathedral, st paul's, specimen cottage, log lock-up, chinese joss house, charing cross, cenotaph, alexandra fountain, centra deborah gold mine, army cartographic unit, miner's cottage, harvey town, victoria hill, look-out tower rosalind park, conservatory gardens, conservatory, bendigo pottery, bendigo municipal offices, bendigo institute of technology, mt alvernia hospital, cobb & co coach, r class locomotive, bendigo railway station, bendigo tramcar, lake weeroona, lake eppalock pumping station, art gallery, historical museum eaglehawk, melville's caves, whitehall cenotaph, nucolorvue productins pty ltd, national library of australia

Legacy had its origins in the aftermath of the first World War. General Sir John Gellibrand in 1923 in Hobart established the Remembrance Club which was to assist returned soldiers. He convinced Stanley Savige a returned soldier who had served with Gellibrand to set up a similar group in Melbourne. The Melbourne group was established at Anzac House shortly after. Initially looking to the needs of returned soldiers, by 1925 they had included the care of deceased soldiers’ widows and children a task which continues to the present day. It is an entirely honorary organization. It lists among its objectives as doing all for the children which the father would have been glad to see done for them. The Warrnambool club was founded in 1947 and this booklet lists the office bearers as Chas Watts, I Buzzard, D B de Beaurepaire, A K Browne R Potter, N K Morris, P H Allen, W J Tolmie, J Paterson, b C Stronach, L G Stevens, T b Patrick, R S Robinson, J O Tait. The Warrnambool region covered from Port Campbell north to Pormborneit, through Darlington and Woorndoo and across to Broadwater and Codrington and Port Fairy in the west. In 1947 they had 200 wards under their care. This booklet has as its centre pages two photographs depicting children and adults and the captions to raise £10000 towards their work and also to build a holiday camp on beach frontage already approved by the Warrnambool City Council.This booklet has historical and social significance as it shows the endeavor of the people of the district to care for those affected by war, in the district and records the names of the first people involved in working with Legacy in Warrnambool .Dark cream coloured soft card cover with brown text. Title is in larger text with the Legacy emblem in the centre of the front cover. The back cover has the poem, Flanders Field and the legacy response. Eight pages which has text and some photographs. A list of Warrnambool office bearers is on the inside back cover. *Printers Geelong. Issued by Warrnambool Legacy. warrnambool, warrnambool legacy warrnambool legacy 1947

A shaving scuttle and shaving mug were developed around the 19th century with the first patent for a shaving mug dating to 1867.[8] As hot water was not common in many households, one way to provide hot lather was to use a scuttle or mug. A traditional scuttle resembles a teapot with a wide spout where hot water is poured in, and this is where it differs from a shaving mug, which has no spout. Both shaving scuttles and mugs usually have a handle, but some have none. Shaving mugs often look like a standard mug, however, some also have a built in brush rest, so the brush does not sit in lather. Modern versions of the scuttle are in limited production, usually by independent potters working in small volumes.[9] At the top of the scuttle or mug is a soap holder. Traditionally, it was used with a hard block of shaving soap (rather than soft soap or cream) and therefore had drain holes at the bottom. Later scuttles and mugs do not include the holes, and thus can be used with creams and soft soaps. Some scuttles and mugs have concentric circles on the bottom, which retain some water thus helping to build lather.[9] In use, the shaving brush is dunked into the wide spout, allowing it to soak into the water and heat up. The soap is placed in the soap holder. When needed, one can take the brush and brush it against the soap, bringing up a layer of lather; excess water is drained back. This allows conservation of water and soap, whilst retaining enough heat to ensure a long shave. Source: www.wikipedia.org Local social historyOrnate white china mug with handle. Cup side to hold brush and saucer shaped top with 3 drainage holes. Gold painted decoration and flower garland of pink and yellow roses. Mother of pearl effect over sides.Made in Germanyshaving, item, china, mug, bathroom, men, personal, toiletry