Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Douglas ALEXANDER (1945-1981) Born Skipton, Victoria Doug Alexander studied Ceramics at the Ballarat School of Mines. In 1968 he was employed as a thrower and designer at Bendigo Pottery leaving that position to work and travel to New Zealand. He settled at Kerri Kerri, Bay of Islands in New Zealand and operated the Red Barn Pottery. In 1970 Doug Alexander returned to Australia establishing Spring Mount Pottery at Creswick where he used local clays to produce his work. He moved to Tharwa, ACT, in 1976 and established the Cappucumbalong Pottery. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Slab formed stoneware platter with impressed decoration finished with slips and oxide made at Spring Mount Pottery, Creswick.art, artwork, ceramics, alexander, doug alexander, red barn pottery, ballarat school of mines, ballarat technical art school, kerri kerri, spring mount pottery, creswick, cappucumbalong pottery, springmount pottery

A class photograph of Watsonia High School 1965 Form 3A. Students are named by donor: Row 1: Lyn Eyval, Gisella Begutter, Glynne Pietzsch, Stephen Meadows, Larry Gard, Lyn Guy, Colette Hion, Leonore Barter; Row 2: Marg Litster, Andrea Winton, Shirley Faulkner, Julia Buday, Barb Porteous, Sue Cope, Kathy Ball, Wendy Auty, Kerry Fitzmaurice; Row 3: Charlie Lopatko, Neville Harris, John Briggs, Robert Stevens, Stephen Riley, Shane Crowley, Colin Wallace, Graeme Wilson; 4th row: Wendy Simpson, Marion Wasley, Loraine Clay, Sue Day, Mr Macraw, Pam Cox, Elisabeth Craig, Glenys Norman, Christine MacDougal.This photograph is complete with names and class list.Black and white school photo with names of students and class timetable on separate pages. watsonia high school, glynne pietzsch, glynne cousins pietzsch

The hospital was first mooted in 1853. The first site chosen was "Hospital Hill" between Rowan and Mackenzie Streets and behind the present Lister House School of Nursing. The first building was a primitive affair of slab and weatherboard daubed with clay somewhere near the middle of the present Short St - which at the time extended to the brow of the hill behind the Sacred Heart Cathedral site. The new building was greatly need to serve the hundreds of diggers then active on the field. Messrs Vahland and Gezchmann, Architects, designed a new building of stone and brick, the cenre portion of the hospital to hold 100 beds. This centre portion cost 12,000 pounds and was erected in three months. Patients were transferred from the old site on Hospital Hill to the new building in December 1858.Black and White photo negative of the front of the hospital; Notes on the History of "The Bendigo Gold District Hospital"; letters re classification by the National Trust of Australia (Victoria).history, national trust bendigo collection, bendigo, bendigo base hospital, bnedigo hospital, bnedigo gold district hospital

Murray Comrie Collection. This photograph shows the blacksmiths premises on the north end of Commercial Road, Tarnagulla. Information collated by Murray Comrie: This building was demolished in the 1970s. The first use of the site was as the George Hotel licensed to an A.B. Clay in 1858, then Waller and Robinson. Charles Waller operated his Excelsior Line of coaches from the George Hotel stables. John Ousley took over the stables for use as a blacksmith's shop. He sold out to Stafford & Sons in 1908. Staffords found the existing premises at the George Hotel too small and built this building. Frank McNamee later took over the premises and operated it for many years. This photograph is a reasonable copy created from an older original. Copy probably made by Murray Comrie in the 1970s. Monochrome photograph depicting a large run-down weatherboard building at the north end of Commercial Road, Tarnagulla. Written in a sign on right side of building: 'Blacksmiths'.tarnagulla, commerce, industry, blacksmithing, smithing, coachbuilding, businesses, stafford & sons, norwood, mcnamee, buildings, hotels, horses, stables, commercial road, main street

Murray Comrie Collection. This photograph shows the blacksmiths premises on the north end of Commercial Road, Tarnagulla. Information collated by Murray Comrie: This building was demolished in the 1970s. The first use of the site was as the George Hotel licensed to an A.B. Clay in 1858, then Waller and Robinson. Charles Waller operated his Excelsior Line of coaches from the George Hotel stables. John Ousley took over the stables for use as a blacksmith's shop. He sold out to Stafford & Sons in 1908. Staffords found the existing premises at the George Hotel too small and built this building. Frank McNamee later took over the premises and operated it for many years. This photograph is a reasonable copy created from an older original. Copy probably made by Murray Comrie in the 1970s. Monochrome photograph depicting a large run-down weatherboard building at the north end of Commercial Road, Tarnagulla. Written in a sign on right side of building: 'Blacksmiths'. Same as image THA-2019.0053tarnagulla, commerce, industry, blacksmithing, smithing, coachbuilding, businesses, stafford & sons, norwood, mcnamee, buildings, hotels, horses, stables, commercial road, main street

This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in 1850's - 1900's. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020. The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s-1900s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, solid colour brown glass,concave base, tapering slightly wider towards shoulder then inwards towards neck; ring of glass just below opening. Base is blown glass; pontil mark on base. Label "c.1850's STUBBY ALE", "ENGLISH HAND MADE, CORK & WIRE SEAL", "PONTIL MARK ON BASE $6" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, brown glass bottle, handmade glass bottle, handmade beer bottle, handmade late 19th century bottle

This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in 1850's - 1900's. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020 The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s-1900s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, opaque brown glass, concave base, tapering slightly wider towards shoulder then inwards towards neck; ring of glass just below opening. Base is blown glass; pontil mark on base. "STUBBY 1850-1900 SMALL SIZE", ENGLISH 3 PIECE MOULD, HAND MADE TOP", "PAPER LABEL, CORK & WIRE SEAL $6flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, brown glass bottle, handmade glass bottle, handmade beer bottle, handmade late 19th century bottle

This photo was inherited with the building when the museum was established. Lind was born in 1878 in East Charlton, Victoria, the son of Oliver Nicholas Lind, a farmer from Denmark, and his Welsh wife Mary Ann Clay. In 1882, drought forced the family to move to East Gippsland where Lind was educated at Lucknow, and then to Bairnsdale in 1884 where he attended Bairnsdale state school. In October 1920, he was elected to the Victorian Legislative Assembly for the seat of Gippsland East for the Victorian Farmers' Union. Lind was made Minister of Forests, President of the Board of Land and Works and Commissioner of Crown Lands and Survey in Albert Dunstan's cabinet. He was knighted in 1951. In 1926 two national parks east of Orbost were named the Albert and the Lind national parks after him.A framed photo of Sir Albert Eli Lind. It is a black and white head and shoulders photo in a black wooden frame.Sir Albert E. Lind Knighted !951photograph politician lind-albert government

This hot water bottle was designed to lay flat in a bed between the sheets. Its purpose was to warm the bed before use. The bottle was filled with hot water then a stopper was placed in the top to seal it, preventing the water from running out. The inscription on the attached label of this hot water bottle gives both the donor's details and the location of the bottle when it was first displayed at Flagstaff Hill Maritime Village. the "P.M.O." are the initials for the Port Medical Office. The donor's details are also written in pencil on the base of the bottle. In the 16th-century people warmed their beds with the 'bed warmer', which was a long-handled, metal pan filled with hot coals and embers and covered with a lid. The pan was placed between the bedsheets to warm the bed before the person retired to sleep for the night. In the early 19th-century earthenware bed warmers came began to be used for the same purpose. They would be filled with hot water and sealed then often wrapped in fabric. The ceramic material would hold the heat for quite some time, without being too hot for the person in bed to also warm their feet as they went off to sleep. Hot water bottles were later made from glass, copper, brass or tin. Some manufacturers made them into decorative pieces that still had practical use. In 1903 a patent was taken out for the first rubber hot water bottle, invented by Slavoljub Eduard Penkala, a Croatian engineer. This bottle is of historic significance, as an example of personal heating equipment used in the late 19th and early 20th centuries.Hot water bottle, earthenware, pale colour with brown glaze on top over the shoulder and mouth section and clear glaze on the remainder of the sides. The cylindrical bottle tapers to a slightly narrower base. One side of the bottle, about a sixth of the circumference, is flat. The base of the bottle has a handwritten inscription. An inscription was on the paper label originally attached to the bottle. Inscription hand written on base of bottle "Mrs K. Rob _ / Browns Rd / Offic / 3 _ _ 9" Inscription on paper label " "Mrs K Robinson Browns Rd Officer 3809 - Hot water bottle P.M.O." flagstaff hill, warrnambool, shipwrecked-coast, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, domestic item, hot water bottle, heating equipment, ceramic bottle, stoneware bottle, potter, earthenware, personal item, bed warmer, foot warmer, flat-sided hot water bottle, household item, stoneware, clay, ceramic

Binishells are reinforced concrete thin-shell structures that are lifted and shaped by air pressure. They were invented in the 1960s by Dante Bini, who built 1,600 of them in 23 countries.Colour photograph of a distinctive architectural feature known as a Binishell on the Gippsland campus. The large reinforced concrete dome is shaped and lifted by air pressure. Its inventor, architect Dr. Dante Bini, directed the construction of the Binishell in December 1979. The eleven metre high binishell, used 300 tons of concrete and reinforcing steel, was inflated by a large membrane in around one hour, using Dr. Dante Bini's ferrocement method. The Binishell was used as a place for exams and graduations. Reactive clay in the soil caused the footings of the binishell to twist, subsequently causing the shell to crack. The resulting damage diminished structural integrity, resulting in the Binishell not being used in 2004 and early 2005 while a new structure support was installed. Normal use of the building was resumed in Semester 1 2005. Eventually the external thermal membrane started to fail, and on 14 February 2009, the Binishell was demolished, with new auditorium built at the campus for classes, graduation ceremonies, exams and conferences.gippsland campus collection, binishell

This specimen was recovered from Moonambel, Donkey Hill, Victoria. Established in the early 1860's, Moonambel is a small town in the Pyrenees region of the Australian state of Victoria. In the 1850s the location of Moonambel was part of the ‘Mountain Creek’ pastoral run, but in 1860 reports began to appear of a gold-rush at McKinnon’s ‘Mountain Creek’ station. By 1861, a township had developed on the diggings site, and on 21 October 1861 the “municipal district of Moonambel, on Mountain Creek” was proclaimed. The name 'Moonambel' is believed to be an aboriginal word meaning 'hollow in the hills'. Slate is a stone with a fine grain that is noted for its persistent strength and ability to naturally split into slabs. It forms under low temperatures and is most often created from clay. Pyrite is a crystallising compound that occurs naturally in grey and blue-black slate that is colloquially referred to as slate-rust as it resembles regular rust. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Pyrite is iron sulphide (also known as “fool's gold”) which is commonly found in slates.Existing label: 53 /moonambel, slate, pyrite, burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, victoria

Kaolin is also known as china clay. This specimen came from Dunolly, Victoria and was donated to the Museum in 1868 as part of the Geological Survey of Victoria. This survey helped map and study the geology of Victoria. In Victoria, Kaolin is particularly used as a filler and coating material in paper manufacture. It can also be used in paints, ceramics, rubbers and plastics. There are many kaolin deposits in Victoria but many of these have been mined out and there is not much Kaolin left. Rocks that have a high amount of Kaolinite and it can be formed through the decomposition of other materials. There are two types of Kaolin; hard and soft kaolin. Soft kaolin's are coarse but have a soapy texture. It can also break easily. The hard kaolins have an earthly texture and are finer grained. This means that they are harder to break, unlike the soft kaolin. Hard kaolin's are formed by flocculation in salt water, a process that in basic terms, bonds particles together. Kaolin is a common material in Victoria and that is why it is significant. While this specimen was mined in Dunolly, Victoria Kaolin can also be found Pittong, Pakenham, Bulla, Hallam and Ballarat as well as many other places throughout Victoria. This specimen represents the presence of Kaolin deposits in this region of Australia. It is also significant because Kaolin has many uses and is largely beneficial to many manufacturing processes in Victoria. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Two pieces of Kaolinite mineral with shades of white and graygeological specimen, geology, geology collection, burke museum, beechworth, kaolin, china clay, dunolly, geological survey of victoria, kaolinite, victoria, mining, mining deposits, geology of victoria, australia, filler, coating material, paper manufacture, paint, ceramics, rubbers, plastics, decomposition, materials, soft kaolin, hard kaolin, flocculation, particles, salt water

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

Robert BARRON (1957- ) Born in Harpenden, England. Robert Barron first worked full-time with clay in 1976, the family pottery at Croydon, Victoria. In 1979, he left Australia on a five-year journey to New Zealand, North America, England, Europe, and South Korea to work with skilled potters in woodfiring. During this time, he visited Michael Cardew at Wenford Bridge Pottery, Cornwall, UK., and was engaged as an apprentice at Cornwall Bridge Pottery, Connecticut, USA. Returning to Australia in 1984, he established Gooseneck Pottery at Kardella, Victoria. With the assistance of a Crafts Board grant Robert Barron built a 1000 cubic ft five-chambered Nabori-Gama style woodfired kiln. This kiln one of the largest wood-fired kilns in Australia. Robert Barron is influenced by the philosophies of Bernard Leach and Michael Cardew.artwork, artist, ceramic, gippsland campus, robert barron

Stoneware or pottery canisters were widely used throughout the late 19th and early 20th centuries for storing and preserving a wide range of kitchen food ingredients. Bendigo Pottery was established in 1858 and is Victoria's oldest working pottery. It was founded by George Duncan Guthrie (1828–1910) who abandoned his potter’s wheel in Scotland to join the Australian gold rush. He found a clay deposit perfectly suited for the production of ceramics, so returned to his former profession as a master potter. The population explosion created by the Australian gold rush resulted in an increased demand for all kinds of locally manufactured goods. The Bendigo Pottery became one of regional Victoria’s most important industrial enterprises. By the late 1800s the Pottery was making all kinds of household wares. One of its most popular lines was the mass produced, affordable and functional earthenware such as these canisters.These items are significant on a state and national level due to the importance of Bendigo pottery as a major Victorian manufacturer whose products were widely used in Australian homes.A group of 3 stoneware and ceramic canisters of assorted sizes. The tallest canister bears the Bendigo Pottery makers mark. The flour canister with the lid and the third canister are unmarked. Similar canister were produced by several companies in the early to mid 20th century. They were commonly used for storing flour, salt and other commodities.At bottom of largest canister "BENDIGO POTTERY" above straight linebendigo pottery, earthernware, kitchen utensils

This design of ink bottle was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf ink bottle. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use replacing the quill or dip pen. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen, and candles, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy that had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost families in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce, and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefact's have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.This ink well is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefact's from Loch Ard and its collection is significant for being one of the largest accumulation of artefact's from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Stoneware penny Ink bottle ironstone salt-glazed, stoneware cylindrical shape with small mouth and squat neck, broad shoulders brown colour, . with light coloured encrustation spots.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, penny ink well, writing equipment, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, ink bottle, dip pen, ink, hand writing, business, vintage, dwarf ink

Vol. 6, No. 1, Mar-Apr 2001 CONTENTS Vika & Linda Between Family and Fame 3 Eltham History in Ceramics A school Community cooperation 6 Exposing the beauty of clay International Pottery Market in Warrandyte 8 Were Street Hill Climb Banyule's Boutique Festival 11 Between Swirl and Solid Jenny Rodgerson's Meditations on lndeterminacy 12 Guo Gian and Anthony Pryor at HeideMOMA A laughing pointer and a craftsman sculptor 14 Dandenong Ranges Folk Festival The Hills Were Alive 16 Book Review Penelope Hobhouse's Flower & Garden Design 18 Theatre Review Kathy Oliver visits La Mama 19 Australian Classical Music Elizabeth Scarlett 20 New faces The Arts Administration Shuffle 22 Bolin Bolin Billabong Cultural Precinct and Walking Trail 24 CD Reviews 26 Artin About 28 Wining & Dining 30 Art Services and Teaching 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, banyule festival, vika and linda, willy wonka's ice cream gourmet food, eltham high school, arts science courtyard project, plenty views golf park, jane annois, nillumbik festival of the arts, bahnhof cafe, dynamic vegies, were st food store, were street hill climb, walkers wheels, jenny rodgerson, claire renkin, heide museum of modern art, guo jian, anthony pryor, dandenong ranges folk festival, kinglake galley, bulleen art & garden, montsalvat, rachel hanrahan, fran silvester, helen baker, katrina phillips-rank, old bakery cottage, bolin bolin billabong, eltham wiregrass gallery, thompsons pharmacy, st andrews market, heide museum of modern art

The original St Mary’s Roman Catholic Church (1865-1912) was built of clay brick with buttress walls and a slate roof on the corner of Fordhams Road and Maria Street (Main Road), Eltham South, opposite the present-day Wingrove Park. It was blessed on September 3, 1865. With the arrival of the railway in 1901 and the town centre moving closer to the station, the decision was made to relocate the site of the church to its present-day location on Henry Street at the corner of Main Road. A new timber weatherboard church, also called St Mary's was erected and blessed on October 13, 1912. The church and land cost £1,400 (Evelyn Observer). The original brick church was demolished in the 1920s and the bricks and windows were recycled to build a dairy on the Brinkkotter farm at Research. The timber church was destroyed by fire in 1961 and a new modern architectural (1960s) style church was erected in its place and named Our Lady of Help Christians Church.Colour photographresearch (vic.), brinkkotter, catholic church, eltham, roman catholic church, st marys catholic church

A class photograph of Watsonia High School 1966 Form 4A. Student names provided by donor: Row 1 (top): Lyn Eyval, Ken Smith, Charles Lopatko, Brian Nestor, Paul O'Brian, Colin Wallace, Tony Costelloe, Larry Gard, Stephen Meadows, Gisela Begutter; Row 2: Colette Hion, Marg Litster, Wendy Auty, Sue Cope, Shirley Faulkner, Wendy Simpson, Barbara Porteous, Julia Buday, Lyn Guy, Lenore Barter, Glynne Pietzsch; Row 3: Rod O'Donnell, John Briggs, Gary Perrow, Shane Crowley, David White, Robert Stevens, Stephen Riley, Tony Chambers, Geoff Chambers, Graeme Wilson; Front Row: Andrea Winton. Christine MacDougall, Marion Wasley, Pam cox, Sue Day, Mrs Burch, Liz Craig, Lorraine Clay, Glenys Norman, Kathy Bell, Kerry Fitzmaurice.Black and white school photo and names of students on grey card.watsonia high school, glynne pietzsch, glynne cousins pietzsch

The original St Mary’s Roman Catholic Church (1865-1912) was built of clay brick with buttress walls and a slate roof on the corner of Fordhams Road and Maria Street (Main Road), Eltham South, opposite the present-day Wingrove Park. It was blessed on September 3, 1865. With the arrival of the railway in 1901 and the town centre moving closer to the station, the decision was made to relocate the site of the church to its present-day location on Henry Street at the corner of Main Road. A new timber weatherboard church, also called St Mary's was erected and blessed on October 13, 1912. The church and land cost £1,400 (Evelyn Observer). The original brick church It was demolished in the 1920s and the bricks and windows were recycled to build a dairy on the Brinkkotter farm at Research. The timber church was destroyed by fire in 1961 and a new modern architectural (1960s) style church was erected in its place and named Our Lady of Help Christians Church.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years. The Reynolds family were early settlers in Research. The Reynolds/ Prior collection of photographs were taken by Tom Prior, the maternal uncle of Ivy Reynolds, around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy lived in the family home for many years at 106 Thompson Cres Research. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, roman catholic church, brinkkotter, catholic church, church, reynolds prior collection, st marys catholic church

The original St Mary’s Roman Catholic Church (1865-1912) was built of clay brick with buttress walls and a slate roof on the corner of Fordhams Road and Maria Street (Main Road), Eltham South, opposite the present-day Wingrove Park. It was blessed on September 3, 1865. With the arrival of the railway in 1901 and the town centre moving closer to the station, the decision was made to relocate the site of the church to its present-day location on Henry Street at the corner of Main Road. A new timber weatherboard church, also called St Mary's was erected and blessed on October 13, 1912. The church and land cost £1,400 (Evelyn Observer). The original brick church It was demolished in the 1920s and the bricks and windows were recycled to build a dairy on the Brinkkotter farm at Research. The timber church was destroyed by fire in 1961 and a new modern architectural (1960s) style church was erected in its place and named Our Lady of Help Christians Church.PostcardReturn to Garnet Burges, Judge Bookchurches, catholic churches, st marys, main road, henry street, eltham

William Henry Maw was a British civil engineer and astronomer. He was born in 1838 and died in 1924 at eighty-five years. Maw worked as an assistant at the workshops of the Eastern Counties Railway before he became a draughtsman in the design office. He designed the first outside cylinder locomotive for use in India. In 1865 he founded the journal Engineering and continued to be an editor for the rest of his life. Maw became a consulting engineer. He was president of the Civil and Mechanical Engineers' Society, the Institution of Mechanical Engineers and the Institution of Civil Engineers. This book contains a wide range of articles and reviews related to industrial developments such as rail mill engines at the Dowlais iron works (constructed by Messrs. Kitson and Co., engineers, Leeds), cable tramway, Clay-street, San Francisco, U.S.A., road and railway bridge over the river Dnieper, at Jekaterinoslow, Russia (constructed from the designs of Professor N. Belelubsky, St. Petersburg, by the Brjonsk iron works) etc. A book with blue large hard cover. Title and publication date are written on spine in gold. Illustrations (fig., plates, plans, diagrams) in B/W. Includes collection of the engineering weekly journal vol. xxxix-from January to June 1885. This book contains a wide range of articles and reviews related to industrial developments. Page no.712.machinery, tools, engines, engineering, railroad, w h maw, rail, mill engines, cable tramway, clay street, dowlais iron works, twin screw engines, royal italian torpedo ram vessel, messrs r and, w hawthorn engineers, electro plated carriage, the tehuantepec ship railway, otis elevator

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

David Gordon Collection. This image was created by Aime Marchand in June 1866. Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honourable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies.