Brought to the Ovens Goldfields by Chinese men working in the area in the 19th century. Most likely made in China.Aldo Gios recorded the location of where most of the pieces in this collection were found. Some maps drawn by Aldo Gios also give more detail. This detail is rare, as most pieces of broken crockery were discarded and complete items were usually collected with no thought to recording the location they came from. Part of one of the largest collections of Chinese ware found in the Upper Ovens area and the only one recording the location where found.Small Chinese porcelain cup, Pale blue with pink and green handpainted flower design, glazed.chinese, cup, goldfields, gios, tableware, glaze, porcelain, handpainted

Door knobs ceramic with iron fittings and iron square rod. Brown swirled glazed finish.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, door knobs, door knobs ceramic, ceramic door knob

Ceramic rolling pin was manufactured pre 1900, and was used for pastry production in a domestic kitchen, in the South Gippsland area.This rolling pin is an early to late Colonial item, and important for pastry production. The bamboo handles possibly indicate an Oriental background.2069.1 - White glazed ceramic rolling pin, with bamboo handles, secured with metal rings to handles.rolling pin, food preparation

Possibly designed by Donor's mother, Mrs. Emma OtterbachGreen glazed mosaic tile depicting Evening Angel with two children asleep in her arms.ceramics, earthenware

The Australian Tesselated Tile Co. began in Mitcham, south of the Railway Station, in 1886. It almost collapsed after the bursting of the land boom in 1890s, then recovered to become one of the world's greatest tile works. It made a greater range of tiles than any other known tile works, here or overseas.Glazed mosaic tile with Sunburst design in dark orange, light orange and cream. Edged in black(on back) '495' '6'ceramics, earthenware

slipcast white stoneware, airbrushed glazes and oxide, multi-fired decals, wax resist, enamelstoneware, ceramic, decals, stairs, sky, garry bish, bottle, sphere, geometric

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Framed and glazed photograph of Kew Bowling Club, RVBA Premiers 1982-3 Division 5.kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic)

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Chapman J & C 1999, The history of the Auburn Heights Recreation Club, 1904 to 1908. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Framed and glazed photograph of the combined members of the Kew and Auburn Heights Bowling Clubs following their amalgamation. kew heights sports club - barkers road - kew (vic)

Glazed white ceramic figurine of a youth holding a tennis racquet and ball. Materials: Ceramic, Inktennis

Robin WELCH ( 23 July 1936-5 December 2019) 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. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) 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. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Large wheel thrown terracotta bowl with abstract decoration including text and gold lustre glaze. art, artwork, vesna medavarsky, ceramic, terracotta, wheelthrown, oxides, gold luster, pottery, bowl, large bowl

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.Wheel thrown cup (without saucer). Top half on outside, rim and handle glaze decorated. art, artwork, cup, ceramic

Simon JAMES (1959- ) Born Nairobi, Kenya Simon James completed a Bachelor of Arts (Ceramic Design) at Monash University in 1982. Light green celadon glaze coffee pot, sugar bowl and 5 cups and 6 saucers.Signed on bottom "Simon James or S.J"ceramics

The glazed, framed and mounted photograph hung at Elders Pastoral, Lara.( see worksheet)Photograph of Dennys Lascelles Ltd Main Show Floor Area 1 acre showing 7,700 bales. The Main Show Floor is the top floor of the 'Bowstring Tress' Wool store.wool sales, dennys, lascelles limited

Renderings of stained west end sanctuary and side altar glass windows within traceries for St Patrick's Cathedral Ballarat. The stained glass was designed by James Bentley and manufactured by Clayton and Bell Londond. Installed in 1880 these windows and the sanctuary tiles are the only example of Bentley's artwork outside the British Isles.Only known plans with specifications of Ballarat's St Patrick's Catholic Cathedral major windows. Measurements of glazed portions for stained glass within the traceries. Stamped with the architect's stamp in strap roundel centred with "Architects Melbourne" the firm's name "Tappin Gilbert & Dennehy".

Ornaments (2), 1) ceramic fish with coloured glaze in red, blue and cream. Hole for attaching to wall. Tail broken. Marked "225 Made Portugal" 2) ceramic fish (Bream) with blue and white glaze (smaller). Broken bit off Dorsal fin.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Brown glazed Bendigo Pottery coffee pot with lid. Smooth top portion with rough bottom section and a decorative band around body. Lid with acorn shaped knob, small heart shaped indentation. Marked on base Bendigo Pottery Leadless Glaze 10T.Bendigo Potterydomestic equipment, food consumption, kitchen

This container may have been a bulk ink container. A cylindrical brown glazed ceramic flagon/ bottle with a neck narrowing to a pouring lip. It has a cork stopper.container ceramic earthenware

Ceramic pot brown glazed lid cream base with paper lid on front and back. Used in a pharmacy.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Aerial view of Melbourne pre October 1997 as the Docklands stadium, landmark of the new precinct is not yet built.Large framed and glazed print of aerial colour photograph of the Yarra river and Docklands, C - 1982 - 1995 docklands, melbourne, aerial view, yarra river, city, port melbourne, albert park

For Trafalgar Day, 20 October 1914, the Archbishop of Canterbury in England had "drawn up a new form of private prayer to be offered up specially for the sailors of the Fleets in the present crisis. He suggested its use particularly at noon as a silent prayer, when those at work may be reminded by the ringing of the " Angelus" bell to lift up their hearts to the Lord. The prayer was as follow: "O Thou that slumberest not nor sleepest, protect, we pray Thee, our sailors from the hidden perils of the sea, from the snares and assaults of the enemy. In the anxious hours of waiting, steady and support those on whom the burdens of responsibility lies heavily, and grant that in dangers often, watching often, in weariness often, they may serve Thee with a quiet mind, through Jesus Christ our Lord. Amen.” The prayer illustrated by English artist G.M. Langley became popular. Prints were sold as gift for 7/9 each with an oak frame. As mentioned in the ' Quarterly Jottings from our log" no 47 midwinter 1917: the etching was gifted to the Mission for display in the new Chapel by the Godfrey sisters. The frame was gifted by their cousin's wife, Mrs William Scott Purves Godfrey ( ' Quarterly Jottings from our log" no 48 Michaelmas 1917).The print was gifted by the Misses Godfrey, influential and long term members and supporters of the Ladies Harbour Light Guild. At the time of the completion of the St Peter's Chapel in September 1917, it was dedicated to the memory of all merchant seamen serving in the long war. The print subject, of the sailor guarded by Jesus was no doubt intended to inspire faith and hope but also acknowledges and reflects the anxious days of waiting not only of the sailors and seafarers negotiating the dangerous waters and oceans but also the challenge for families, experiencing the widespread anxieties of a world at war. Wood framed and glazed engraved print of Jesus Christ with sailor in the foreground and printed inscription on mount belowSignature of artist lower left of print.: G M Langley Printed on mount at lower right: "In the Anxious hours of waiting"g.m. langley, prints, engravings, merchant seamen, seafarers, ww1, godfrey family, ethel augusta godfrey, frederica godfrey, first world war, great war, mrs william scott purves godfrey, rica godfrey, rita godfrey, artwork-paintings

An ink bottle was made of glass or ceramic and typically sat on a desk. The writer would dip the pen (or quill) into the bottle to put more ink on the pen. Because they sat on a desk, ink bottles were often decorative. We have mostly dispensed with ink bottles and quills. This item is an example of early stationery equipment commonly used.A cylindrical brown glazed ceramic ink bottle with a neck narrowing to a pouring lip and cork. Label is blue.Front bottom - Commercial.bottle ink-bottle ceramic domestic writing-equipment stoneware

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

Brought to the Ovens Goldfields by Chinese men working in the area in the 19th century. Most likely made in China.Aldo Gios recorded the location of where most of the pieces in this collection were found. Some maps drawn by Aldo Gios also give more detail. This detail is rare, as most pieces of broken crockery were discarded and complete items were usually collected with no thought to recording the location they came from. Part of one of the largest collections of Chinese ware found in the Upper Ovens area and the only one recording the location where found.Small Chinese porcelain cup, glazed, with a pink and green handpainted flower design on a pale blue base.chinese, cup, goldfields, gios, tableware, glaze, porcelain, handpainted

Bottle, large, yellow clay bottle, glazed at neck and chipped at neck, something rattles inside; no stopper. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clay bottle, earthenware bottle, household container, domestic

Pot may have been made for J & S Maw (1828-1841-50 at 12 Aldersgate Street, London or one of their subsequent incarnations i.e. S Maw, Son & Sons at the same address. Ref mark on base MAW over D2 (?).Short cylindrical off-white glazed ceramic pot with lid, with ridge at base of pot and top of lid.Impressed in the base 'MAW' over 'D2'.

Short cylindrical off-white glazed ceramic pot with lid, with ridge at base of pot and top of lid.nil