One of a collection of over 400 sketches & photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandSketch Map of Westernport region and environs showing physiographical faults and warps. Drawn by Dr G Bakerlocal history, illustrations, pen & ink, westernport region, black & white sketch, physiography, dr g baker, e s hill d.sc, john jenner, bryant west

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/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic

Large white ironstone china bowl. Made by J & G Meakin. Hanley England. 15' in diameter.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, china bowl, bowl

Plan by Public Works Dept., Melbourne. M. Drake (draughtsman), R. G. Wilson, Chief Architect.m. drake, g.r. wilson

1880's Great Western School Photograph of three rows of Students and Mr Carse Head Teacherstudents, education

Typed below photograph, "1950 - Parish Hall Xmas Party. Mrs. Caughey, Mrs. McCrae Senr. Mr. and Mrs. G. Williams, Mr. John McCrae, Mrs. M. McCall, Mrs. McWilliam, Mrs. Dedman, Mrs. Win Leslie, Director".

School of Mines is a predecessor of Federation UniversityHandwritten Letter from S. Radcliff Bairnsdale District School of Mines to F. J Martell Ballarat School of Minesf j martell, s. radcliff, bairnsdale school of mines, school of mines ballarat

Collection of photographs from a film set/s coloured and black and white. possibly Town like Alice and Mad Maxphotographs, bryan brown, helen morse, coloured photographs, movie sets, cars

Taken at Great WesternJockey on horse on racetrack at Great Western. 1920's vehicles lined up behind fence with lady and gentlemen spectators.

Two men in front of 1920's ute parked with Charcoal Bags for delivery to Rail. Man on right is Norman Manncharcoal, charcoal burner

Demonstrates aspects of Ballarat's Tramway operations by the SEC in noting the days a person was on Special Leave. Has a strong association with the SEC and tram operations in Ballarat.Rubber stamp and wood stamp base for stamping rosters and/or time sheets with the word "S. LEAVE" to indicate was on Special Leave. May have had his pay adjusted.. Comprises a varnished shaped wooden section, cut from a preformed strip with a drawing pin to indicate the top of the stamp. trams, tramways, sec, rosters, times, crews

Built by W. G. Allen & Sons (Tipton) Ltd., Tipton, Staffordshire, England. This vehicle was used on the construction of dams, etc., and the Jindivick tunnel at Tarago in Gippsland for the state Rivers & Water Supply Commission of Victoria. The small wheel located on the side ran up a suitably located ramp automatically tipping the hopper and emptying the contents. Historic - Industrial Narrow Gauge Railway - side tipping wagon used by the State Rivers & Water Supply Commission of Victoria - Jindivick tunnel at Tarago, Victoria, AustraliaSide Tipping Wagon made of Iron, steel and wrought ironpuffing billy railway, pbr, side tipping wagon - w. g. allen & sons (tipton) ltd, puffing billy, side tipping wagon, w. g. allen & sons (tipton) ltd, jindivick tunnel, state rivers & water supply commission of victoria

The papers in this work are focused on Thomas Brassey (1836-1918) who was born and educated in England. They include the period from 1871 to 1893, just before he accepted the position of Governor of Victori, Australia, in 1895. During that time, he'd won a seat in parliament, which he held for 18 years, and for periods was a civil lord and parliamentary secretary for the Admiralty. He was passionate about the sea and addressed his naval and maritime concerns in public lectures, letters, pamphlets and books. He was also for a time lord-in-waiting to Queen Victoria and president of the Institute of Naval Architects. This book is from Flagstaff Hill's ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. It was edited by Rear Admiral Sir Sydney Marow Eardley-Wilmot (1847 1929) of the Royal Navy, and published by Longmans, Green and Co. of London, The Longmans, Green and Co. was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, the firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC. Interestingly, the logo in some books, such as “Steam Turbines 2nd edition, published in 1922” has the year “1724” but the logo in books such as “Advanced Agriculture, published in 1894” has the year “1726” in the logo.The book is significant for publishing historical papers and addresses by Lord Thomas Brassey, former Governor of Victoria before Australia’s Federation. Brassey was passionate about naval and maritime matters in public and government capacities. The work is important for its connection with the publisher Longmans, Green and Co., of London, a firm that has been established for over two centuries, renowned for publishing encyclopedias, dictionaries, books on English grammar, textbooks, poetry, reference books, novels, magazines and more. The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.Papers and Addresses Naval and Maritime from 1871 to 1893 Vol 2 Author: Lord Brassey Arranged and Edited Captain S. Eardley-Wilmot Publisher: Longmans Green and Co. Date: 1894 One of a set of six books. Part of the Pattison Collection. Green hardback cover with embossed gold text and label on spine. Inscriptions include a label on the spine, a stamp, stickers and black handwriting.Label: "PAT 359 BRA" Sticker "Warrnambool Mechanics Institute and Free Library" Sticker "Corangamite Regional Library Service" Stamp "Warrnambool Free Library" Handwriting on Fly: "(crossed out) G 468 228" and "M" "237" "7"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, longmans green and co., thomas longman, paternoster row london, thomas brassey (1836-1918), lord brassey, earl brassey, governor of victoria, politician, civil lord of the admiralty, publicist, naval affairs, maritime affairs, public lectures, parliamentary addresses, author, lord-in-waiting to queen victoria, president of the institute of naval architects, captain s. eardley-wilmot, papers and addresses, naval and maritime, 187 to 1893, vol 2

Weir Pumps - these types of vertical pumps were used extensively with both land and marine steam pumps. The pumps were also used for various duties from pumping oil fuel and feed water for boilers, to draining bilges on steam ship[s They are a single cylinder, double acting vertical pumps used by G. & J. Weir Ltd. , of Cathcart, Glasgow Historic - Weir Vertical PumpSteam Driven Weir Pump Green and Black with metal parts.No. B49717puffing billy, weir, steam pump

Postcard size colour photograph'Written on back of photograph" Demolition of Ringwood Coolstores -Circa 1960's

James Murgatroyd worked at Warrnambool Woollen Mills, Federal Mill, Tweedside, Collins Mills and set up looms for Alexander Spinning Mills Sydney, his son Fred Murgatroyd worked as a loom tuner at Yarra Falls, Tweedside and Collins mills in Victoria as well as in Sydney, and studied at Leeds University.Murgatroyd Photograph CollectionF Murgatroyd B 431 Astrali [?] S C KODAK PRINTtextile machinery textile mills weaving mills textile mills, collins bros mill pty ltd yarra falls mill tweedside woollen mills, murgatroyd, mr fred murgatroyd, mr james, textile machinery, textile mills, weaving mills

Dr. Murphy was a popular identity in Emerald and its surrounds. The sketch is significant because it gives a rough image of Dr. Murphy. After he died, a medical scholarship was created in his name for a young, local, first year undergraduate in Medicine. Pencil sketch on cartridge like paper, framed by a wide wooden frame"Spud". Dr Ian S. McLeod Murphy. D. Peterson 1974dr. murphy

Barro's Paving Co Building, 46 Maroondah Hwy Ringwood. South Side near New St. 1970-1980'sBack of photograph is stamped, "John Gallagher, Photographer 4 Benares St., Mitcham, Vic WU2568."

Historic BuildingsB/W Photo of original postcard, North side Warrenheip St. 1900's, looking east towards Mount Buninyong.The Rose Series P 1661 Panorama of Buninyong, Victoriabuninyong, learmonth st., corner shop, tonkins grocer

Book - brown card cover, stapled with a set of 9 Acts of the Victorian Parliament that involved the MMTB and other tramways. Contains the following Acts: 1 - Act 3367 - Act to amend the MMTB Act - 15/12/1924 2 - Act 3308 - Act to amend the MMTB Act - 18/12/1923 3 - Act 3247 - relating to the works and undertakings of The North Melbourne Electric Tramways and Lighting Company Limited in the Municipal District of the City of Melbourne and the City of Essendon - 21/12/1922 4 - Act 3023 - to amend the MMTB Act - 16/12/1919 5 - Act 2995 - Melbourne and Metropolitan Tramways Act 1918 - set up the MMTB - 7/1/1919 - document has been trimmed on the right hand side to enable the various parts to be opened up - has many hand written notes on changes to the Act, underlining. With in the covers are many hand written notes on the various Acts and questions and comments - pencil on plain paper. See Also Reg Item 2108 for these and other Acts bound into a book.The various Acts have "H. S. McComb" written on the top right hand corner in ink or pencil.trams, tramways, tramways, acts of parliament, mmtb, nmetl

Stawell Bowling Club Season Opening Day. Large group of people on verandah of two storey Club house building with a line of people at lower level. Sometime in late 1950'sor early 1960's. Shows willow trees around Cato lake in background.stawell sport

Photo depicts the RSS Mill girls interhouse sports team of 1932.R.S.&S. Woollen Mills, Champions 1932. / Girls Inter-house Sports. / U. Stephenson. I. Conder. C. Lofts. E. Osborne. H. Conder. / M. Morgan (Capt.) R. Ellis / G. Jones. / Presented / to / Mr. C. Lofts. / In Appreciation of Services / Rendered as Coac The / Lockwood Studios / Geelongtextile mills - sporting teams textile mills, returned soldiers and sailors mill, sport, textile mills - sporting teams, textile mills

Report or Thesis - 49 foolscap sheets photocopied onto heat sensitive paper titled "Tramway Reserved Tracks - A comparative study by R. G. Vanselow" prepared most likely for his Hons at the University of Melbourne c1969. Has a table of contents. Gives background, Literature survey, description of theoretical analysis, experimental arrangements and methods, results, discussion, conclusions and references. Pages 46 to 62, 64 to 66 missing. Document scanned into three parts. Bob passed away 18/2/2019. He spent some 10 years with the MMTB Civil Engineering.trams, tramways, trackwork, reserved track, reports, mmtb, melbourne university

Weir Vertical Pump Weir Pumps - these types of vertical pumps were used extensively with both land and marine steam pumps. The pumps were also used for various duties from pumping oil fuel and feed water for boilers, to draining bilges on steam ship[s single cylinder, double acting vertical pumps used by G. & J. Weir Ltd. , of Cathcart, Glasgow .Weir Vertical Pump ( no. 2 ) - Steel vertical pumpWeirpuffing billy, fluid pump, weir, vetical pump

The manufacturers K.G. Luke were a well known Melbourne Jeweller and manufacturer of badges buttons, silver and dec art objects for the home.Badge is visual representation of ongoing support and/or association with MTS. Round enamel badge with navy Flying Angel flag on a pale cream ( originally white?) background and "The Missions to Seamen" inscription. A pair of identical badges."K. G. LUKE MELB" stamped on backmission to seamen, enamel badges

Displayed in History HousePen and ink sketch of a house partially obscured by trees. In foreground are two paddocks, with two horses grazing at centre right. Mounted in grey matt in black wooden frame, under glassFront: C G Darvall/Jan 1890