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/Ceramics have evolved over thousands of years.White earthenware dinner plate. Crazing evident all over.Backstamped ‘Made in England S LTD’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics, tableware

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/Ceramics have evolved over thousands of years.A white earthenware side plate with a gadroon edge. Has water marks and chips on front.‘Johnson Bros England Reg No 15587’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, johnson bros, ceramics, tableware

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/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug

Folder of Memos and directions (htd3207i1> htd3207i8) - Air raid precautions, covering painting, respirators, sheds, tools, kits, shelters, stacks , blackouts, trenches, emergency, air raid shelters (htd3207i9> htd3207i16) - Accidents, covering accidents and derailments, (htd3207i17) - Bridges – inspection of Victoria St bridge (htd3207i18) - Cable tracks, covering tarring, patching, top dressing of cable tracks (htd3207i19> htd3207i21) - Cartage, covering hired trucks, cartage of wood blocks, spoil, sleepers (htd3207i22> htd3207i23) - Contracts, blank page (no image) - Councils, covering track opening, storm water drain, bad roads (htd3207i24) - Costs, covering maintenance costs, construction costs, wet weather (htd3207i25> htd3207i26) - Depots, covering inspections, storage, paving, telephones, mail (htd3207i27> htd3207i30) - Derailments, covering controls, reports (htd3207i31) - Drainage (htd3207i32) - Eastern Lines, covering loading platforms, crossovers, work orders (htd3207i33> htd3207i34) - Eastern Lines Reconstruction (htd3207i35> htd3207i37) - Eastern Line Maintenance (htd3207i38> htd3207i40) - Estimates (htd3207i41) - Employment (htd3207i42) - Footscray Lines (htd3207i43) - Instructions (htd3207i44) - Journals, covering Engineering Journal and magazines (htd3207i45) - Materials – General, covering frames & covers, unloading stores, packing plates, petrol allowance, ashes at Preston workshops, electrodes, sleepers (htd3207i46> htd3207i50) - Maintenance – General, covering loading platforms, inspections, work orders, paving (htd3207i51> htd3207i57) - Northern Lines, covering greasing of curves, crossovers, loading platforms (htd3207i58> htd3207i61) - Northern Lines – Reconstruction, covering crossings, welding machines (htd3207i62> htd3207i64) - Northern Lines – Maintenance, covering repairs, crossings, lifting programme, fencing, curves, track inspection, repairs (htd3207i65> htd3207i70) - New Lines (htd3207i71> htd3207i80) - Plant – General (htd3207i81> htd3207i94) - Plant – Concrete Mixers (htd3207i95) - Plant – Motor Vehicles (htd3207i96> htd3207i100) - Plant – Rollers (htd3207i101> htd3207i103) - Plant – Grinders (htd3207i104) - Plant – Grinders & Scrubbers (htd3207i105> htd3207i110) - Plant – Compressors and Tie Tampers (htd3207i111) - Plant – Cleaner Cars (htd3207i112> htd3207i114) - Plant – Loaders (htd3207i115) - Plant – Tools (htd3207i116> htd3207i117) - Plant – Miscellaneous (htd3207i118) - Per Way – General (htd3207i119> htd3207i121) - Public Utilities (htd3207i122> htd3207i123) - Reconstruction – General (htd3207i124> htd3207i126) - Railways (htd3207i127> htd3207i129) See \dbtext\hawthorn\photo_collections\3207_Folder for scanned images.trams, tramways, instructions

This document reveals the way in which Mission to Seafarers grew in response to demand. With increased shipping to Australia for all purposes, the need for the then existing Mission to grow to be conveniently located and to accommodate seafarers became increasingly evident. This document also shows the formal nature of documents and petitions in the 1890s and documents the names of twenty-two contemporaneous ships and their respective captains. The Anna, Dharwar and Mermerus arrived in port at the end of July 1897. The Carmanina arrived on the 21 October 1897. The Loch Katrine, at the end of the list, arrived on 5 November 1897. The letter was published in the Argus, 22 December 1897: "APPEAL FOR SEAMEN. TO THE EDITOR OF THE ARGUS. Sir, I beg that in the interests of the Victorian Seamen's Mission you will be kind enough to publish the appended testimony of the ship masters who for many years have been trading to this port, and therefore have had many opportunities of judging the effects of his work. The mission has much need of monetary assistance, and, should any of your numenous leaders deem it worthy of support, the committee would feel most grateful for any help that may be given in this direction. It has been the pleasure of the committee as far as possible to supply the crews of all outward bound steamers and sailing vessels with literature for their use on the voyage. My former appeals through your columns for leading matter have always been liberally responded to, and I trust that should any of our booksellers have any surplus stock of periodicals, religious and secular, illustrated or otherwise, at the end of the year, they will kindly remember the Victorian Seamen's Mission and the sailors. Private individuals also who may have stacks of literature by them, if they would kindly send some to the Seamen's Institute, Beach street, Port Melbourne, would cause the cheering of many a dark and lonely hour in the seamen's life. From 900 to 1.200 parcels have hitherto been given to the sailors and firemen annually by this mission, and we should be extremely grateful to those who would place us in a position to continue such donations in the future. Yours, &c. , E. JAMES, Chaplain to the Mission. Seamen's Institute, Beach street, Port Melbourne, Dec. 10." -------------------------------------------------- "To the Executive Committee of the Victorian Seamen's Mission, Melbourne. "Ladies and Gentleman, "We, the undersigned captains of several ships now lying at the Melbourne wharves think it most desirable that the Victorian Seamen's Mission, being the mission that has for so many years shown a most part their interest in the spiritual, moral, and social well-being of the seamen of all nationalities, shall him on the banks of the Yarra an institute such as that at Port Melbourne, where sailors of every grade could profitably and pleasantly spend their evenings. At almost every other seaport in the world such institutions are being provided for seamen, and we are satisfied from our opinion of the Melbourne public that the matter needs only to be prominently brought under their notice to be accomplished. We are confident that the good work of the mission is being hampered by its not having such a place near the shipping at the Melbourne wharves. Our crews are at present placed at a great dis advantage through not having an institute more convenient to the scene of their labours than that at Port Melbourne, which, on a very wet or a very hot, is not easily reached. If a site could be obtained immediately above the Gasworks but on the other side of Flinders street extension, that is to say, on the lower part of the land on which the Harbour Trust offices are built, it would be most convenient for the shipping on both the north and south side of the river. Trusting that it may be possible to do some thing to meet this long felt want, We suscribe ourselves, Yours respectfully, Geo.H Steven, master ship Dharwar; Thos. Curd, master ship Narcissus; James Horne, master ship Loch Garry; T.Tait, master ship Loch Ryan; T. Nilsen, master ship Hebe; G. Ch Christian, master ship Anna; R.E. Peasley, master ship Seminole; Wm. Martin, master ship Loch Ness; T.C. Martin, master ship Loch Tay; W.H. Bennett, master ship Loch Vennachar; J. Raglan Brodie, master s.s. Warrnambool; James E. Coles, master ship Mermerus; J. H. Walker, master ship Hinemoa; R.J. Johns, master ship Ariel; D. Gorchem (sic. Gerckens), master ship Matador; H. Petersen, master ship Nesaia; Wm. J. Reid, master s.s. Star of New Zealand; A. F. Svhanstrom, master ship Hermes; Alex. Smith, master ship Sophocles; W. Y. Bunn, master ship Carmanian; William Anderson, master ship Loch Katrine."This petition is historically significant as it is documentary evidence of the need for a new facility for seafarers signed and presented by the captains of 21 ships, including several of the sister ships of the Loch Ard. The need for a new facility was a result of changes in shipping and the use of the Melbourne ports in the 1890's and this document supported the pressure on the Harbour offices to finally release land for an appropriate building in the early 20th C.Mounted hand-written petition to the Executive Committee of the Victorian Seaman's Mission Melbourne. The letter petitions the Executive Committee to create a facility on the wharves, "where sailors of every grade could profitably and pleasantly spend their evenings." This portion of the letter takes up three quarters of the document. The remainder has two lists, one of twelve captain's signatures and the other of the names of their ships. The list is continued on the reverse side with an additional nine signatures and corresponding ship names.In cursive handwriting: To The Executive Committee of the Victorian Seamans Mission', / Melbourne / Ladies and Gentlemen / we the undersigned captains....... We subscribe / ourselves respectfully, Captain signatures and names of ships ( NB Ship names in upper case for this entry ): Geo H. Stevens - DHARWAR / Thomas Curd - NARCISSUS; / James Horn - LOCH GARRY / T.Tait - LOCH RYAN ; / T.NIlsen - Hebe ; / G.C. Christians - ANNA ;/ R E Peasley - SEMIOLE ; / William Martin - LOCH NESS ; / T C Martin - LOCH TAY;/ W H Bennett - LOCH VENNUACHAR; / RJ Raglan Brodie - SS WARRNAMBOOL; ; / James E. Coles - MERMERUS; / ( signatures continue overleaf) J H Walker - HINEMORA ; / R J Johns - ARIEL; / D Gorchem - MATADOR; / H Petersen - NESAIA;/ William J Reid - STAR of N. ZELAND [sic] ; / TJ Sohanstrom - HERMES;/ Alex Smith - SOPHOCLES; / W Y Bunn - CARMANIAN;./ William Anderson - LOCH KATRINE;/ Handwritten in red ink on the front of the parchment: "8182" NB The second digit in the number sequence appears to have been written over and could also be a "9", an "8" or a "3". paper Watermark "HERCULES". Prior to conservation and taped to the glass on the reverse side of the parchment was a small piece of paper reading: "Letter written in 1897 and signed between the last week of October and the first week of November." T and C probably stands for Trade and Customs and 8382 is the file no." (H8.4 x W11.8)victoria, melbourne, ships, petition, australia-wharf, captains, signatures, 717-flinders-street-docklands, maritime welfare services, mission to seafarers, seamen's mission, mission to seamen, mermerus, captain coles, sir john coode, loch line, loch ness, loch gary, loch ryan, ss warrnambool, loch tay, loch vennachar, matador, nesaia, d. gerckens, h. petersen, a.f. svhanstrom, hermes, ariel, loch katrine, william anderson, dharwar, narcissus, hebe, anna, hinemoa, sophocles, carmanian, captains' petition

Stoves of this design are used for heating domestic places and were available in many designs and shapes. They commonly used wood as fuel and were not only used for heating but cooking as well. This stove was part of the original furnishings of the 1922 vessel 'Reginald M a South Australian costal trader it was made from material and fittings obtained from salvage yards. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew labored for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald M”. The donor’s family lived on the Your Peninsular and dispatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. In 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His or Her Majesty’s Customs). The stove is significant as it represents the heating and cooking appliances used in late 19th and early 20th century, both on board vessels as well as for domestic purposes. The stove has additional significant for its association with the vessel "REGINALD M" a coastal trading ketch from South Australia built in 1922 at Largs Bay. It is one of very few sailing coastal trading vessels built in Australia with its flat bottom, single chine shape designed for navigating shallow water. See additional comments in the Production section this documents under Comments for further information regards the stove. Stove a cast-iron, rectangular, four-legged stove with a hinged front door. This stove was part of the original furnishings of the vessel 'Reginald M', built in Adelaide 1922. Image of a log cabin with an illegible inscription below it.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, coastal trader, trading vessel, vessel reginald m, ketch, john murch ship builder, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale, port adelaide vessel reginald m, macquarie training vessel, grenfell studio port lincoln, stove, domestic heating, domestic cooking, heater, cooking unit, wood fired stove, wood stove, wood-burning stove

This ship's wheel was hand made from wood and metal using a recycled cart wheel. It originally belonged to the "Reginald M", a 2 masted, flat bottomed, coastal trading ketch with single chine. The REGINALD M The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew laboured for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald Emm”. The donor’s family lived on the Your Peninsular and despatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. This ship's wheel is significant because of its association with the REGINALD M. REGNIALD M was a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Ship’s wheel, also called a Helm, eight spoke design. Centre of wheel is handmade of wood and has iron rings around each side. The spokes are fitted into this wooden hub. The outer wheel has an iron ring on one side and sections of a wooden ring on the other. There are both original and modern bolt and screw fastenings. The wheel has remnants of black paint. This ship’s wheel was originally fitted to the ketch REGINALD M and removed during its restoration. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship's wheel, hand made ship's wheel, coastal trader, reginald m, ketch, john murch, ch murch, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale

This coloured photograph of the ketch Reginald M was taken when she was docked at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. HISTORY The Reginald M, a two-masted coastal ketch, was owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia to serve the coastal ports of South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Its purpose was to carry cargo cheaply and efficiently, and tradition has it that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The Reginald M had a very shallow draft and a flat bottom that enabled it to sit high and dry at low tide. The flat bottom was also to make the ship able to skim over reefs. Wagons were able to load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. In 1931 she weathered a large storm in St Vincents Gulf, SA. Her crew at the time were Owner Mr John H Murch, Wells St, Largs Bay, Skipper, John’s brother Mr R Murch, Murray, son of Mr R Murch and Seaman John Smith Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph dating about 1929 -1942 shows 2 men on the Reginald M, having just landed their fishing catch of a hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCLON PRINT” and titled “hammer shark caught on Reginall Emm”. Reg Webb knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel because a photograph in Flagstaff Hill’s collection shows the text “H.M.C. No. 3, Pt Adelaide” on the bow, the abbreviations standing for “His/Her Majesty’s Customs”. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Copper Company, based in Queenstown, Tasmania, to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit and renamed her T.S. Macquarie. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her, paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. In 1975 Reginald M was sold to Melbourne Ferry Company at auction. In 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000. She has been restored and is now one of the exhibits, tied up at the dock. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include - Photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board. - a lifebuoy, with Pt Adelaide on it. - a bullet found in pieces of timber when Reginald M was restored in 1979 (References: Flagstaff Hill Fact Sheet “Reginald M”, the book “The Reg Webb Story” compiled by the Warooka & District Museum. Reg Webb’s daughter Lily Ramsay (nee Webb) and her husband Howard, Lizzie Rennie (daughter of owner Andrew Rennie), brochure “Discover the Yorke Peninsula South Australia”, Ketch in Peril; Adelaide Chronicle 9 April 1931, K Gordon & Mary Filmer of Warooka; South Australian Maritime Museum) Thiis photograph is significant because of its connection to the history of the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Photograph of Reginald M at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. Painted on the side of the vessel "REGINALD M / H.M.C. No. 2 Pt ADEL" - flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, reginald m, coastal trading ketch, trading vessel, john murch ship builder, port adelaide vessel reginald m, andrew rennie, macquarie training vessel, mt lyell copper company, queenstown navy league, ch murch, reg webb, carribie station, melbourne ferry company, grenfell studio port lincoln, vessel reginald m

The ship's steering gear was used for steering and navigation of a vessel - it was a very important part of the ship's equipment. This steering gear was part of the original vessel 'Reginald M', which became part of the exhibitions at Flagstaff Hill Maritime Village. The steering gear was manufactured by the Carron Company. ABOUT THE CARRON COMPANY The Carron Company established its ironworks on the banks of the River Carron in Stirlingshire, Scotland, in 1759, and became an incorporated company in 1773. One of the notable items produced by the company was the Carronade, a short-barrelled naval cannon, being produced until the 1850s. The company was the largest ironworks in Europe during the 19th century. It supplied ammunition and armaments, steamboat engines, pig iron, cast iron goods such as balustrades fire grates and bath tugs, pillar boxes and telephone boxes, and even cast iron rings for underground tunnels. In 1982 it became insolvent and was taken over by the Franke Corporation, using the brand Carron Phoenix. ABOUT THE 'REGINALD M' The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew laboured for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald Emm”. The donor’s family lived on the Your Peninsular and despatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board.The steering gear is significant through its association with the Carron Company, the largest ironworks in Europe in the 19th century, and the manufacture of the short barrel, lightweight naval gun - the Carronade. The steering gear is significant for its association with the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.) Ship's steering gear that was part of the original vessel 'Reginald M', which was constructed in 1922. Inscription on both sides. Made by the Carron Company, UK."CARRON COMPANY"flagstaff hil, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, coastal trader, trading vessel, vessel reginald m, ketch, john murch ship builder, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale, port adelaide vessel reginald m, macquarie training vessel, grenfell studio port lincoln, ship steering gear, metal steering gear, ship's gear, ship's navigation, carron company

Full page newspaper clipping featuring the March 1965 Victorian bushfires. Items include: Photograph - TWO-WOMAN BUCKET BRIGADE, Mrs Henry Marsden (left) and Mrs Moureen Ellis, whose fire-fighting efforts yesterday were highly praised today by their Eltham neighbours, carry out mopping-up operations Photograph - DOGS MADE HOMELESS by the fire in North Eltham yesterday are being cared for at First-Constable Doug. Mummery's kennels at Eltham and here is kennel maid Helen Oliver, 17, with some of them today. The two basset hounds are owned by Mr Bill Guy who lost about 100 daschund and basset hound puppies and dogs in the fire. Photograph - He died at Eltham [Picture of John Lawrence Coleman] Builder Mr John Lawrence Coleman, 31, of Main Rd., Eltham, one of three men burnt to death yesterday in the fire at North Eltham. The other two were XXXXX, 33 who lives opposite the Colemans and Mr William Elwers, 64 of Batman Rd., Eltham. John Lawrence Coleman (1934-1965) born January 10, was the son of Raymond John Coleman and Hanna May (Gillet) Coleman. He married Margaret Frances Dare in 1955 and was the father of two children. He died whilst attempting to rescue an older man trapped in the bushfire at North Eltham on March 3, 1965 Other news stories of the day:  Bushfires rage in Victoria, Snowy: Three dead (1965, March 4). The Canberra Times (ACT : 1926 - 1995), p. 1. Retrieved May 19, 2022, from http://nla.gov.au/nla.news-article131758981 Includes two photos of the fire in North Eltham “Firemen make for safety as fire rages in Upper Glen Park Road, North Eltham, Victoria. The smoke hides a house.” and “A house explodes into flames at North Eltham, Victoria. Firemen said bottled gas went up.” Canberra Times (ACT : 1926 - 1995), Thursday 4 March 1965, page 1 ________________________________________ Firemen make for safety as fire rages in Upper Glen Park Road. North Eltham. Victoria. The smoke hides a house. A house explodes into flames at North Eltham. Victoria. Firemen said bottled gas went up. Bushfires rage in Victoria, Snowy: Three dead MELBOURNE, Wednesday.—Three people died today in a bush» fire which raged through North Eltham, about 15 miles from Melbourne. The victims were three men. A fourth man is feared to be dead. Another bushfire. sparked off by the heatwave sizzling over south-eastern Australia, is burning out of control in the Kosciusko State Park, in the Snowy Mountains. Firefighters fear that if it reaches pine forests up the Yarrangobilly River, they will be powerless to stop it. The three victims of the North Eltbam fire were trapped by flames in a valley. Their bodies were found only a few yards apart. They were named by police tonight as Mr. George Crowe, 78, of North Eltham, William John Ewers, 64, and John Laurence Coleman, 31, both of Eltham. The other two have not been identified. They are believed to be a man aged about 40 and an 18-year-old youth. At least 12 homes were destroyed by the fire, the worst in Victoria since 1962, when eight lives were lost and hundreds of homes burnt down at Warrandyte. At one time the township of Eltham was threatened, but a cool change swept in from the south and held back the wall of flames. More than 100 dogs, worth about £4,000, died when the fire raced through two kennels in Short Street, Eltham. and Upper Glen Park Road, North Eltham. A trickle of water Residents ran into the streets as the blaze raced towards their houses. Others frantically dug firebreaks around their homes. Mrs. Sue Recourt wept when firemen arrived while she was vainly trying to stop the flames with a trickle of water from the garden hose. A stack of firewood was blazing, but the firemen managed to save the house and rescue four goats. Many homes in Eltham were saved after flames had crept to within feet of their fences. Students at North Eltham State School had to be evacuated when the blaze threatened the building. Fire fighters were severely hampered by lack of water and narrow roads. The blaze, which began in above century heat, turned toward Wattle Glen, where two houses were gutted. Then the flames raced towards Hurstbridge to the north. Firemen battling desperately, controlled the fire late this afternoon. Five forest fires were still burning in Victoria tonight.   IN VICTORIA THIS WEEK Tragic lack of central fire authority (1965, March 9). The Canberra Times (ACT : 1926 - 1995), p. 2. Retrieved May 19, 2022, from http://nla.gov.au/nla.news-article131759928 Canberra Times (ACT : 1926 - 1995), Tuesday 9 March 1965, page 2 ________________________________________ IN VICTORIA THIS WEEK Tragic lack of central fire authority From Rohan Rivett It was the worst week for Victorian fire fighters since Black Friday 27 years ago. On that day one pilot up in a spotter plane said afterwards: "It seemed at times that half the State was on fire." This time, for three days on end, Gippsland men, women and children had moments of conviction that their towns would have blackened into anonymity before the weekend was out. The week began with horror at Eltham on the North-eastern edge of Melbourne. Eltham today is something of an artists' colony. Oil painters, water colourists, potters and sculptors proliferate. A number of University folk have emulated the example of Professor MacMahon Ball who pioneered the way by moving to Eltham and carving a home out of the bush in the thirties. Innermost Eltham is barely 14 miles from the G.P.O. Farthest Eltham stretches miles beyond. It served to illustrate the tragi-ludicrous truncation of Victoria's fire control. Part of Eltham is under the protection of the Melbourne Fire Brigade. But this responsibility ceases at some invisible and incomprehensible line — apparently determined by the meanderings of the water mains. At this point everybody's property throughout the rest of Eltham is dependent on the Country Fire Authority. Half an hour before midday on Wednesday, a fire suddenly started on the West side of Upper Glen road on the edge of Eltham. Before the fire brigade could arrive, it was burning on a widening front through timber and high grass north of Eltham. Two wind changes in rapid succession saw the fire leaping Diamond Creek. With a freshening wind it struck home after home in three streets. More than one of them exploded suddenly as if hit by an incendiary bomb. There is no piped gas in the Eltham area, hence many housewives use bottle gas. The flames outside caused the bottles to explode. Altogether twelve homes were completely incinerated and four more were badly damaged. Thirty prize dogs perished. About three hours after the fire started it raced suddenly down a gully hillside trapping an elderly man. Two other men apparently raced to the rescue. Flames caught the three men within yards of each other, not 200 yards off the Upper Glen Park Road where safety lay. They were burned to death. Next evening an angry and convincing secretary of the Fire Brigade Union, Mr. W. M. Webber, came on television and appealed to the people of Victoria to end the ridiculous and dangerous dualism in fire-fighting control. The Eltham fire, he said, had precisely illustrated the situation. The Metropolitan Fire Brigade area touched Eltham, but where the fire had gutted and killed, was just outside its area. Mr. Webber said his union had constantly urged one authority for the State with a complete reorganisation of fire protection. On Wednesday the union had repeated its call for an inquiry into fire protection in Victoria to the Chief Secretary, Mr Rylah. "No matter how close the liaison between the two organisations, there are always divided sections of thinking," Mr. Webber told viewers. "I don't know how much tragedy the com-munity can take before it demands that it is properly protected." Rumours that differences in gauge between taps and hose nozzles (as between the two authorities) accentuated the damage were denied by fire chiefs who said that all appliances were now carrying adaptors so that hoses could be linked to mains everywhere. But there is grave concern in the Metropolitan Fire Brigade's higher councils at the action of several Federal authorities with projects in and around Melbourne. They are installing non-standard equipment without reference to the State authorities or any dovetailing of appliances and equipment. Public alarm was not diminished by the publication on Friday and Saturday of a heart tearing letter from the young widow of John Lawrence Coleman, 31 year old father of two, who had died in the flames apparently trying to rescue the old man trapped in the gully. By that time, a Vast area of Gippsland was in flames and the troops had been sent in to back up the overworked and often helpless fire-fighters. By Saturday, the Leader of the Opposition, Mr. Stoneham, who has previously demanded a Royal Commission into fire-fighting arrangements, repeated his demand. To add to the Chief Secretary's worries he was publicly rebuked for allegedly implying on television that lives had been lost at Eltham because people went to the wrong place at the wrong time. In a letter to the Press, Professor MacMahon Ball pointed out that two of the men involved were experienced bushmen who had gone "to help an old man in great danger fully aware of the danger to themselves". As Victoria faced its sixth day of total State-wide fire ban, it looked likely that even official resistance was not going to silence the demand for one central authority to control the fire fiend. At the moment, the 400 square miles where two million Victorians live in Greater Melbourne are divorced from the rest of the State in planning, communications, equipment and control of personnel. No one doubts the whole-hearted co-operation and willingness to back each other up of the M.F.B. and the C.F.A., both at top-level and among the firemen themselves. However, when a city straggles so deeply into the country side, the absence of a single authority, to oversee and analyse the fire threat as a whole, suggests suicidal policy of divide and fuel. Emphasis of the tragic loss of a member of a pioneering family who died whilst helping others in his communitybushfire, cfa, country fire authority, fire brigrade, glen park road, heroes, john lawrence coleman, north eltham, victorian bushfires - 1965, volunteers, william john elwers, fire fighter, frank martin, george john crowe, ken gaston, orchard avenue, doug mummery, helen oliver, mrs henry marsden, mrs moureen ellis

John Lawrence Coleman (1934-1965) born January 10, was the son of Raymond John Coleman and Hanna May (Gillet) Coleman. He married Margaret Frances Dare in 1955 and was the father of two children. He died whilst attempting to rescue an older man trapped in the bushfire at North Eltham on March 3, 1965 He died at Eltham (Herald, 4 March 1965, p3) [Picture of John Lawrence Coleman] Builder Mr John Lawrence Coleman, 31, of Main Rd., Eltham, one of three men burnt to death yesterday in the fire at North Eltham. The other two were XXXXX, 33 who lives opposite the Colemans and Mr William Elwers, 64 of Batman Rd., Eltham. * * * Frank Martin was a volunteer with the Eltham rural fire brigade at the time of the 1965 bushfires which burnt Eltham North and Research. Frank was asked to assist with the removal of three bodies from the back gully (now Orchard Avenue). They were badly burnt and one was found stuck under a fence as though trying to escape. Volunteers John Coleman Jnr, William Elwers and George Crowe were killed trying to protect Eltham from bushfire – they were local heroes. At the time, John Coleman Jnr was survived by his wife Margaret and two young children – John 11 and Vicky 2. Margaret Coleman lived in the family home until 1992 when she sold it and moved to Tasmania to be close to her son. She died in 1997 aged 65 years. 75 yr old Ken Gaston grew up on Edendale farm, which was originally a poultry farm but is now owned and run by the Shire of Nillumbik as an educational farm for schools and visitors. He was Captain of the Eltham rural fire brigade in 1965 when John Coleman Jnr was burnt to death in the Eltham North bushfires serving as an unofficial volunteer. He was able to draw where the original Wattletree Road was and at the time was verified with the location of some remaining bitumen and a post from the original bridge over the Diamond Creek located near the junction of the Diamond Creek and another small creek which is further down from Research or Christmas Creek as locals refer to it. The original Main Road ran behind Colemans before the railway line was built beyond Eltham in 1912. (Information recorded by Harry Gilham, President EDHS c.2011) * * * Bushfires rage in Victoria, Snowy: Three dead (1965, March 4). The Canberra Times (ACT : 1926 - 1995), p. 1. Retrieved May 19, 2022, from http://nla.gov.au/nla.news-article131758981 Includes two photos of the fire in North Eltham “Firemen make for safety as fire rages in Upper Glen Park Road, North Eltham, Victoria. The smoke hides a house.” and “A house explodes into flames at North Eltham, Victoria. Firemen said bottled gas went up.” Canberra Times (ACT : 1926 - 1995), Thursday 4 March 1965, page 1 ________________________________________ Firemen make for safety as fire rages in Upper Glen Park Road. North Eltham. Victoria. The smoke hides a house. A house explodes into flames at North Eltham. Victoria. Firemen said bottled gas went up. Bushfires rage in Victoria, Snowy: Three dead MELBOURNE, Wednesday.—Three people died today in a bush» fire which raged through North Eltham, about 15 miles from Melbourne. The victims were three men. A fourth man is feared to be dead. Another bushfire. sparked off by the heatwave sizzling over south-eastern Australia, is burning out of control in the Kosciusko State Park, in the Snowy Mountains. Firefighters fear that if it reaches pine forests up the Yarrangobilly River, they will be powerless to stop it. The three victims of the North Eltbam fire were trapped by flames in a valley. Their bodies were found only a few yards apart. They were named by police tonight as Mr. George Crowe, 78, of North Eltham, William John Ewers, 64, and John Laurence Coleman, 31, both of Eltham. The other two have not been identified. They are believed to be a man aged about 40 and an 18-year-old youth. At least 12 homes were destroyed by the fire, the worst in Victoria since 1962, when eight lives were lost and hundreds of homes burnt down at Warrandyte. At one time the township of Eltham was threatened, but a cool change swept in from the south and held back the wall of flames. More than 100 dogs, worth about £4,000, died when the fire raced through two kennels in Short Street, Eltham. and Upper Glen Park Road, North Eltham. A trickle of water Residents ran into the streets as the blaze raced towards their houses. Others frantically dug firebreaks around their homes. Mrs. Sue Recourt wept when firemen arrived while she was vainly trying to stop the flames with a trickle of water from the garden hose. A stack of firewood was blazing, but the firemen managed to save the house and rescue four goats. Many homes in Eltham were saved after flames had crept to within feet of their fences. Students at North Eltham State School had to be evacuated when the blaze threatened the building. Fire fighters were severely hampered by lack of water and narrow roads. The blaze, which began in above century heat, turned toward Wattle Glen, where two houses were gutted. Then the flames raced towards Hurstbridge to the north. Firemen battling desperately, controlled the fire late this afternoon. Five forest fires were still burning in Victoria tonight.   IN VICTORIA THIS WEEK Tragic lack of central fire authority (1965, March 9). The Canberra Times (ACT : 1926 - 1995), p. 2. Retrieved May 19, 2022, from http://nla.gov.au/nla.news-article131759928 Canberra Times (ACT : 1926 - 1995), Tuesday 9 March 1965, page 2 ________________________________________ IN VICTORIA THIS WEEK Tragic lack of central fire authority From Rohan Rivett It was the worst week for Victorian fire fighters since Black Friday 27 years ago. On that day one pilot up in a spotter plane said afterwards: "It seemed at times that half the State was on fire." This time, for three days on end, Gippsland men, women and children had moments of conviction that their towns would have blackened into anonymity before the weekend was out. The week began with horror at Eltham on the North-eastern edge of Melbourne. Eltham today is something of an artists' colony. Oil painters, water colourists, potters and sculptors proliferate. A number of University folk have emulated the example of Professor MacMahon Ball who pioneered the way by moving to Eltham and carving a home out of the bush in the thirties. Innermost Eltham is barely 14 miles from the G.P.O. Farthest Eltham stretches miles beyond. It served to illustrate the tragi-ludicrous truncation of Victoria's fire control. Part of Eltham is under the protection of the Melbourne Fire Brigade. But this responsibility ceases at some invisible and incomprehensible line — apparently determined by the meanderings of the water mains. At this point everybody's property throughout the rest of Eltham is dependent on the Country Fire Authority. Half an hour before midday on Wednesday, a fire suddenly started on the West side of Upper Glen road on the edge of Eltham. Before the fire brigade could arrive, it was burning on a widening front through timber and high grass north of Eltham. Two wind changes in rapid succession saw the fire leaping Diamond Creek. With a freshening wind it struck home after home in three streets. More than one of them exploded suddenly as if hit by an incendiary bomb. There is no piped gas in the Eltham area, hence many housewives use bottle gas. The flames outside caused the bottles to explode. Altogether twelve homes were completely incinerated and four more were badly damaged. Thirty prize dogs perished. About three hours after the fire started it raced suddenly down a gully hillside trapping an elderly man. Two other men apparently raced to the rescue. Flames caught the three men within yards of each other, not 200 yards off the Upper Glen Park Road where safety lay. They were burned to death. Next evening an angry and convincing secretary of the Fire Brigade Union, Mr. W. M. Webber, came on television and appealed to the people of Victoria to end the ridiculous and dangerous dualism in fire-fighting control. The Eltham fire, he said, had precisely illustrated the situation. The Metropolitan Fire Brigade area touched Eltham, but where the fire had gutted and killed, was just outside its area. Mr. Webber said his union had constantly urged one authority for the State with a complete reorganisation of fire protection. On Wednesday the union had repeated its call for an inquiry into fire protection in Victoria to the Chief Secretary, Mr Rylah. "No matter how close the liaison between the two organisations, there are always divided sections of thinking," Mr. Webber told viewers. "I don't know how much tragedy the com-munity can take before it demands that it is properly protected." Rumours that differences in gauge between taps and hose nozzles (as between the two authorities) accentuated the damage were denied by fire chiefs who said that all appliances were now carrying adaptors so that hoses could be linked to mains everywhere. But there is grave concern in the Metropolitan Fire Brigade's higher councils at the action of several Federal authorities with projects in and around Melbourne. They are installing non-standard equipment without reference to the State authorities or any dovetailing of appliances and equipment. Public alarm was not diminished by the publication on Friday and Saturday of a heart tearing letter from the young widow of John Lawrence Coleman, 31 year old father of two, who had died in the flames apparently trying to rescue the old man trapped in the gully. By that time, a Vast area of Gippsland was in flames and the troops had been sent in to back up the overworked and often helpless fire-fighters. By Saturday, the Leader of the Opposition, Mr. Stoneham, who has previously demanded a Royal Commission into fire-fighting arrangements, repeated his demand. To add to the Chief Secretary's worries he was publicly rebuked for allegedly implying on television that lives had been lost at Eltham because people went to the wrong place at the wrong time. In a letter to the Press, Professor MacMahon Ball pointed out that two of the men involved were experienced bushmen who had gone "to help an old man in great danger fully aware of the danger to themselves". As Victoria faced its sixth day of total State-wide fire ban, it looked likely that even official resistance was not going to silence the demand for one central authority to control the fire fiend. At the moment, the 400 square miles where two million Victorians live in Greater Melbourne are divorced from the rest of the State in planning, communications, equipment and control of personnel. No one doubts the whole-hearted co-operation and willingness to back each other up of the M.F.B. and the C.F.A., both at top-level and among the firemen themselves. However, when a city straggles so deeply into the country side, the absence of a single authority, to oversee and analyse the fire threat as a whole, suggests suicidal policy of divide and fuel. Emphasis of the tragic loss of a member of a pioneering family who died whilst helping others in his communitybushfire, cfa, country fire authority, fire brigrade, glen park road, heroes, john lawrence coleman, north eltham, victorian bushfires - 1965, volunteers, william john elwers, fire fighter, frank martin, george john crowe, ken gaston, orchard avenue

Reports published in The Courier newspaper of performances by Ballarat Academy of Performing Arts, including items naming students past and present of the University of Ballarat during 1997 plus articles of people and events connected to the Arts Academy. Also contains information about Ballarat University courses for performing arts. Articles are mostly from the Ballarat Courier newspaper in chronology year (1997) order with no page numbers. Two items are from December 1996 and three articles in October 2001. PRODUCTIONS : *' Pericles' performed by Ballarat's Ozact Theatre Company at Port Fairy's Battery Point. *'Maelstrom' written by Chris Dickens and directed by Peter Tulloch performed by BAPA third year students.(Oct. 28th - Nov 1st) Some cast members were: James McLaverty, Melissa Casey, Linda Judd, Angela Coad, Sarah Griffin, Kathy Lucas, Melissa Casey, Laura Hill, Grant Hickey, Jamie Robertson, Jon Catanzariti, Steve Kerr, Jeff Parker Natalie Zappulla. Performed at Ballarat University Studio Theatre (Nov 4th -8th) and also at Melbourne's CUB Malthouse (Nov. 25th-29th) *"7 Deadly" directed by Chris Dickens and performed in The Chapel at the Academy's Victoria Street campus by 1st year Ballarat University students. Some cast members were: Ash Abdou, Niniane Le Page, Alex Meerbach, Adam Davies and Elicia Bolger. *"Sounds of Broadway and Off' (Oct 9th - 11th) directed and choreographed by Judith Roberts and performed at the Studio Theatre , University of Ballarat, by 1st year students of Musical Theatre at BAPA. Some cast members were Paul Thomas, Shannon Palmer, Aakash Andrews, Justine Schnellbeck, Erica Chestnut,, Rebecca McGuinness, Matthew Heyward, Kellie Rode. Tickets cost $5.00 *'Bewitched" "a parody of the original television series" directed and produced by Ballarat performing arts graduates Adam Turnbull and Claire O'Sullivan. Most of the cast and crew were graduates from the University of Ballarat. Some cast members were: Katherine Evans as Samantha and Martin Cole as Darren. Simon Buckle was responsible for his original music, songs and special effects. *Concert: Featuring pianist Slavomir Zumis and cellist Robert Ekselman (Oct. 3rd) *"Charley's Aunt" by Brandon Thomas, performed by 2nd year Ballarat Academy of the Arts 2nd Year Company at The Venue Studio Theatre, University of Ballarat (Sept. 23rd-27th). Cast members: Derren Jackson, Ross Larkin, Kevin Dee, Adelle Gregory, Colette Bruggeman, Luke Doxey, Gavin Fenech, Dennis Marinovic, Nadia Andary, Narelle Werner. Cost: Adults $10, Concession $7.50, Bookings at Majestix. *'The Importance of Being Ernest' (by Oscar Wilde), performed by second year theatre company of the University of Ballarat, directed by Maureen Edwards, designed by Andrew Arney. Cast members included Narrell Werner as Gwendolen, Tim Haymes as Jack, Mark Gambino as Algermon, Adelle Gregory as Cecily and Heather Kent as Lady Bracknell. The production was at the Studio Theatre, University of Ballarat, September 16th-20th , 8pm. Ticket costs: $10 Adult, $7.50 Pensioners/students. Double bill tickets for The Importance of Being Ernest and Charley's Aunt (Sept.23-27) costs: $15 Adults,$10 Concession. *"The Man From Muckinupin' (by Dorothy Hewett), directed by Chris Dickens and performed by University of Ballarat 3rd Year Performing Arts at Studio Theatre, University of Ballarat from Aug 26th - Aug 30th 1997. Cast members: Lisa Judd as Polly, James McLaverty as Jack, Jamie Robertson, Natalia Rose, Steven Kerr, Jon Catanzariti, Melissa Casey, Grant Hickey, Sarah Griffin, Laura Hill, Kathy Lucas, Angela Coad, and Jeff Parker. Ticket costs: $10 Adults, $7.50 Concession from MajesTix *'The Inspector' (by John Cousins) director Bruce Widdop, performed by the Third Year Graduating Company, University of Ballarat, Ballarat Academy of Performing Arts; at Studio Theatre, University of Ballarat, Aug 19th-23rd, 1997. Cast: Jamie Robertson as the mayor, Jeff Parker as the supposed government inspector, Grant Hickey as Sidney, Melissa Carey as Rose, and Sarah Griffin as Rose's daughter, Laura Hill as the postmaster and Linda Judd as the headmistress. Some 1st year students had cameo roles - Adam Parsons and Adam Davies. *'Cosi' directed by Andrew Seeary and performed by Theatre Movement at the Grainery Lane Theatre, Doveton Street, Balarat. The story has a young, nervous director Lewis, played by Brett Edginton, arrive in a mental home to produce a play with the inmates. Other cast members are Karl Hatton (Roy), Miranda Crellin (Cherry), Rob MacLeod (Henry), Ray Craven (Zac), Narrell Werner (Julie), Nadia Andary (Ruth), Mark Gambino (Doug), Elizabet Stewart and Michael Cooper (Lewis' unsympathetic friends) and Bob House (the Social Worker). Nadia, Mark and Narelle are Ballarat University performing arts students. Season: July 24th,25th 26th and 31st and August 1st and 2nd, 1997. Tickets at the door or through Majestix. Cost: Adults $16; Concession $11. Reviewer: Barry Breen, a Ballarat author, poet and performance artist. *'New Works' involves two plays - 'The Inside Out', director Melissa Casey and 'Secrets'. director Jeff Parker, presented by Ballarat Academy of Performing Arts Third Year Company, both written and directed by third year students. All production areas handled by students of BAPA. Cast members: 'The Inside Out' - Jamie Robertson, Laura Hill. 'Secrets' - Sarah Griffin, Linda Jude, Steven Kerr, Angela Coad, Natalie Zappulla. Staged at University of Ballarat's Studio Theatre. Bookings MajesTix - $10 or $7.5 *Euripide's, 'The Bacchae', a tale of revenge, directed by Bruce Widdop and performed by 2nd year students from the University of Ballarat Performing Arts Department and the BAPA. Assistant directors' Tim Haymes and Derren Jackson. Cast members: Richard DiGregorio (Dionysus), Chris Stipic (Cadmus), Colette Brugman (Agaue), Denis Marinovic (Pentheus), Mark Gambino (Teiresias) and Ross Larkin as the messenger. Other supporting performers are Luke Doxey, Brendan Mayne, Heather Kent, Kevin Dee, Gavin Fenech, Nadia Andary, Karissa Clarke, Adelle Gregory and Narrell Werner. The play was performed at the Studio Theatre, Ballarat University, June 3rd-6th, 1997.Tickets MajesTix or at the door - $10 Adult, $7.50 Concession. *'Back to the Tivoli' School of Performing Arts - June 10th -14th. Venue: Academy of Performing Arts, Victoria Street, 8pm *Aristophane's 'Lysistrata', an anti-war comedy. Performed by first year drama students from the University of Ballarat and BAPA at the Studio Theatre, University of Ballarat, Mount Helen, on May 27th-30th, 1997. Cast members: Niniane Le Page (Lysistrata), Fiona Russell (Calonice), Anne Winter (Myhrrine), Dominic Phelan (Cinesias), Alex Meerbach (Stratyllis), Michael Rafferty (Leader), Melissa Lowndes (Lampito), Renee Francis (Ismenia), Kathryn Martin (Corinthian), Geoffrey Spink (doorman), Adam Parsons (magistrate), Adrian Dart (policeman), David Kambouris (policeman two), Max Grarock (negotiator), Phol Crompton (ambassador) and Ross Farrell (herald). Male chorus members: Paul Thomas, Adam Davies, Ashraf Abdou, Karan Khanna. Female chorus members: Lauren Oliver, Suzie, Lewis and Lindy Kerr. Tickets MajesTix - $10 Adults, $7.50 Concession; or $12 special double bill price including The Bacchae. *Roger Woodward Recital - a piano recital by the internationally acclaimed Australian pianist to launch the Ballarat Academy of the Arts asset drive. He performed on the University's historic Erard Grand Concert piano on stage in Founders Hall, describing it as "absolutely amazing.' The instrument was 93 years old and hadn't been played for more than eighty years. An audience of 500 were entertained with pieces by Schubert and Bach for the first half of the program and Waltzes, Mazurkas, and Polonaises by Chopin after the interval. Fittingly an encore of the Minuet in G by Paderewski was played on the very piano the composer had brought from England for his Australian tour in 1906. *'The Merry Wives of Windsor' by William Shakespeare; directed by Beth Child; designer Damian Muller; Production by Third Year Graduating Company, University of Ballarat Performing Arts Department. This play is a comedy not performed very frequently. Cast members: Angela Coad (Mistress Page), Laura Hil (Mistress Quickly), Gavin Fenech (Falstaff), Kathy Lucus (Justice Shallow), Melissa Casey (Mistress Ford), Jeff Parker (Mr Ford), Jamie Robertson ( Mr Page) and Karrissa Clarke (Simple). Staged at the Studio Theatre, University of Ballarat, May 6th-10th 1997 at 8pm. Tickets $10. Concession $7.50. *"Ship of Fools" SMB Performing Arts. Grainery Lane Theatre, 9th-10th May 1997 Cast members: Chris Lytas (Mac & Convinso), Kate Edwards (Mayor & Rachel), Ruth Sheridan (numerous characters) *'Lola Montez - The Musical' author Alan Burke; director Peter Tulloch; choreographer Fred Fargher; designer Damian Muller, musical director Graeme Vendy. Performed by twenty-eight second year Performing Arts students with Nadia Andary in the lead role of Lola,, Grant Hickey as Henry Seekamp the Ballarat Times editor who receives a whipping from Lola for his criticism of her. Tim Haymes is the character Smith, Karissa Clarke plays nurse Jane Oliver and Ross Larkin plays soldier Daniel Brady. Other cast members were Luke Doxey, Richard Di Gregorio, Chris Stipic and Brendan Mayne. A feature of the show is Lola's celebrated Spider Dance which was acknowledged many years ago by the crowd throwing gold nuggets onto the stage. Presented by the Hugh Williamson Foundation in association with the Begonia Festival organizers the performance was at Her Majesty's Theatre, Ballarat nightly from 12th-15th March at 8pm with a matinee at 2pm on the 15th. Tickets at Majestic: Adult $18.50, Concession $13.50, Group Adult $15.50, Group Concession $10.50, Culture Vulture $12.00 Family $46 Season 97. *' 2001- 'On The Town' a musical comedy performed by graduating Ballarat Academy of Performing Arts and directed by course coordinator Kim Durban from the Victorian Theatre Company; and BAPA assistant production manager Jo Pearson. It features a cast of 30 and music from a 15 piece band. Photo depicts three cast members: Keith Miles, Adam Lubicz and Glenn Quinn. It was performed in America in 1944 and tells the story of three sailors who arrive in New York on 24-hour shore leave. It was performed at Founder's Hall, University of Ballarat, Mount Helen campus. Tickets $15 adults, $10 concession and $7 for children and students. Family tickets were available. Bookings MajesTix. *'Play With Your Food' a new theatre restaurant show performed by SMB Performing Arts students at Craig's Cellar, Lydiard Street, Ballarat. It was an original show devised and written by Second Year SMB Performing Arts students. following their sold-out touring show 'unplugged' and Book Week play 'SapceDust'. There are also articles about people involved with the University of Ballarat Performing Arts course and the courses in the Arts. Lady Lush's world of unusual characters presented jokes, songs, music whisked together into a bizarre story for audiences to enjoy and even be tie up. Cast members: Melissa Porritt, Loenne Whitecross, Jess Matthews, Kristie Glab and Julia McNamee. It was performed over five nights, 7th-8th-9th-15th and 16th November, 2001. Cost $20. NEWSPAPER ARTICLES: Directors for University of Ballarat 2nd Year Performing Arts Maureen Edwards (photo) An advertisement for BA Visual Arts - Studio Studies available for Ceramics / Drawing / Graphic Design / Print Making /Painting / Multi-Discipline - Undergraduate and Post Graduate Studies. Also for BA Performing Arts - Major Studies available: Performance Acting, Theatre Production, Performance Music Theatre. Ballarat Academy of Performing Arts - New lecturers 1997: Lecturer in Design and theatre crafts - Damian Muller; lecturer in production and stage management - Leonard Bauska; and lecturer in theatre technology - Matthew Heenan. Ballarat Academy of Performing Arts - 1 st article in 'The Flag' Alumni Newsletter, University of Ballarat, Issue June, 1997 re 1st intake of students in February, 1997. 2nd article 'Where Are They Now' - Amanda Sandwith. Event - 'Lydiard Street Alive' : firebreathing act 'David and Goliath' performed by David Patullo. Article with information (includes advertisment for course) about the 3 year performing arts degree at Ballarat consisting of performance acting, theatre production and performance music theatre which are part of Ballarat Academy of Performi8ng Arts which resources from three institutions - University of Ballarat, Australian Catholic University and the School of Mines. BAPA launch: Photos of some attendees - June 3rd 1997 Ballarat Courier. Performers featured Erica Chestnut and Sue-Ann Thomas. Amy Young - Up Close and Personal article - Ballarat Courier - Saturday June 14 1997. Amy Young was the director and conductress of Ballarat 'Y" Choir for 45 years. In 1996 she donated her husband's (Dr Keith Young) Steinway grand piano and musical collection to BAPA. This article is about her life. Events calendar for the Month of May, 1997. Peter Tulloch ( University of Ballarat Performing Arts Co-ordinator 1997) Newspaper article - interview by Elise Sullivan that appeared in The Ballarat Courier Saturday May 3rd 1997 Weekend Edition . Many articles on Roger Woodward and a $3 million asset drive for the Ballarat Academy of Performing Arts. Advertisement for 3 Arts positions at the University of Ballarat - Lecturers in Theatre for Movement/Dance; Design, Theory and Craft; and Theatre Technology Article: 'Who's Who at the Academy' - A list of First Year, Second Year, Third Year, Performing Arts Staff (University of Ballarat and Australian Catholic University). Article about the Erard Concert Grande piano and its acquisition by the University of Ballarat. There are several articles linked to the production of "Lola Montez the Musical' including: *Lola Montez's life in a timeline -1818 to 1861 compiled by Peter Freund, Her Majesty's Theatre historian on behalf of Ballarat Begonia Festival. * A radio show in 1952 performed by Ballarat's "Y" Drama Group featuring 16 year old Joy Brehaut as Lola Montez and directed by 3BA's Ted Furling *Ballarat's Most Famous Scandal Advertising Poster for Lola Montez *Lola Whips In * Lola to Tread the Boards Again * Lola to Return to Ballarat - The "Minister for Purity, The Reverend John Potter" - (actor Jamie Robertson) * Veteran Takes His First Look at Lola * First Stage Lola meets the New Lola - Nadia Andary meets 1967 Lola, Nancy Brauer. * Lola Returns Home An article listing the 12th Annual Encore Awards held at Ballarat Village on Wednesday 5th March 1997. * Advertisement for major studies available in 1998 -Theatre Performance; Music Theatre Performance and Theatre Production plus upcoming productions - Aug - The Inspector and The Man From Muckinup; Sept - The Importance of Being Ernest and Charley's Aunt; Oct- The London Blitz Show and They Shot Horses Don't They? Nov - Graduate Exhibition * Article 3/12/1996: Amy Young donates her husband Dr. W. H. Keith Young's Steinway grand piano and studio stacked with historic documents to the jointly run Performing Arts Academy following his death. The book consists of A4 paper sheets, heat bound with blue card front and back cover with a plastic overlay. The pages contain photocopied articles printed in the Ballarat Courier during 1997. Two articles are from December 1996.bapa, pericles, ozact theatre company, ozact, maelstrom, chris dickens, joan petering, peter tulloch, 7 deadly, ballarat academy of performing arts, bpca, ballarat college of performing arts, sounds of broadway and off, judith roberts, graeme vendy, bewitched, adam turnbull, claire o'sullivan, katherine evans, martin cole, simon buckle, charley's aunt, brandon thomas, derren jackson, ross larkin, kevin dee, adelle gregory, colette bruggeman, luke doxey, gavin fenech, dennis marinovic, nadia andary, narelle werner, the importance of being ernest, maureen edwards, andrew arney, tim haymes, mark gambino, heather kent, performing arts courses 1997, the man from muckinupin, dorothy hewett, chris dickins, linda judd, james mclaverty, jamie robertson, natalia rose, steven kerr, jon catanzariti, grant hickory, sarah griffin, laura hill, kathy lucas, angela coad, jeff parker, john cousins, bruce widdop, melissa carey, adam parsons, adam davies, damian muller, leonard bauska, matthew heenan, cosi, grainery lane theatre, andrew seeary, brett edginton, karl hatton, miranda crellin, rob macleod, ray craven, elizabeth stewart, michael cooper, bob house, barry breen, the flag, performing arts academy - ballarat, bert labont'e, lydiard stree alive, david and goliath, david patullo, amanda sandwith, bapa launch, erica chestnut, sue-ann thomas, amy young, dr keith young, ballarat "y" choir, the bacchae, richard digregorio, chris stipic, colette brugman, denis marinovic, brendan mayne, karissa clarke, narrell werner, niniane le page, fiona russell, anne winters, melissa lownds, renee francis, kathryn martin, michael rafferty, dominic phelan, geoffrey spink, paul thomas, ashraf abdou, karan khanna, alex meerbach, lauren oliver, suzie lewis, lindy kerr, adrian dart, david kambouris, max grarock, phil crompton, ross farrell, roger woodward, erard grand concert piano, karrissa clarke, beth child, chris lytas, kate edwards, ruth sheridan, ballarat academy of performing arts asset drive, positions - school of arts, erard concert grande piano, ignace paderewski, professor david james, david james, robert allen, bapa opening, gabrielle mcmullen, dr ron wild, graham clarke, michael faulkner, sacred heart convent of mercy ballarat, lola montez the musical, spider dance, lola montez, grant hickey, fred fargher, peter freund, ballarat begonia festival, nancy brauer, james robertson, jo pearson, on the town, keith miles, adam lubicz, glenn quinn, play with your food, melissa porritt, loenne whitecross, jess matthews, kristie glab, julia mcnamee, smb performing arts students, the london blitz show, they shoot horses don't they?, graduate exhibition

Eltham District History, Eltham Road Board, 1856-1871Two binders containing 486 A4 pages (photocopied) of mostly handwritten notes from research undertaken of Public Office Records of Victoria various holdings. Some photocopies from source reference books. Includes 20 page subject index (handwritten) at front and 5 pages of notes and sources at rear and a photocopy of short biography of Keith Chappel.a. foley, a. harkness, a. mackie, a. mcintyre, a. von ziegler, a.a. vivian, a.d. kinninmont, a.d. quadri, a.h. grimshaw, a.w. page, aboriginal reserve, aborigines, abraham quarman, abraham rooks, abraham taylor, adam goudie, aenaes harrison, agnes black, agnes charlton, agnes dalrymple, ah chong, ah cock, ah hein, ah lie, ah sing, albert lunson, albert ness, albert parker, albert ramseyor, alert hunt, alex cameron, alex eason, alex mcandrew, alexander crichton, alexander donaldson, alexander falconer, alexander innes, alexander james, alexander mcdonald, alexander miller, alexander thompson, alexander walker, alexander white, alfred armstrong, alfred burgess, alfred davey, alfred deschamp, alfred eddy, alfred hinley, alfred hooper, alfred hubbard, alfred lowman, alfred smith, alfred whelpton, alice power, allen heeps, allwood, amelia neuman, amos taylor, anderson, andersons creek, andrew brown, andrew byrne, andrew harkness, andrew herbert, andrew ross, andrew smith, angus mcdonald, ann emmott, ann mcphee, ann odea, ann plunkett, ann snell, ann tatty, annie ashmore, annie herbert, annie stuart, anthony beale, anthony currie, ants nest, archibald mcphee, arthur connor, arthur lyttle, arthur rooke, arthur young, arthurs creek, arthurs creek school, august ostling, b.o. wallis, barkers creek, barr, belton, benjamin bain, benjamin jenken, benjamin lawford, benjamin rice, benjamin shaw, benjamin smith, benjamin wallis, benjamin walton, berry, bismark hotel, black calf gully, black thursday, boomers gully, bridget bunker, bridget hailes, bridget kearse, bruno hirt, burns, bushranger, c. twiss, c.h. bade, caleb sherar, caledonia, caledonia diggings, campbell hunter, carl euman, caroline davey, catherine kennedy, cathren brock, cecilia farman, chamberlain, chapman, charles caldwell, charles campbell, charles dale, charles draper, charles fowler, charles green, charles hawkins, charles hempel, charles hirt, charles hirtson, charles jefer, charles jesse, charles kerchevell, charles lidgerwood, charles morris, charles peake, charles prince, charles rielly, charles roberts, charles rowand, charles simms, charles souter, charles swan, charles verso, charles wells, charles whelpton, charles williams, charles wingrove, charles woodley, charleys gully, charlotte beltison, charlotte goodwin, ching ah hock, christine brennan, christine mckenzie, christmas hills hotel, christmas hills school, christopher battaila, christopher twiss, chune grove, church of england, church of england school, clarissa milton, cleir hills, colin amos, constable quirke, constable talty, cornelius haley, cornelius stewart, cottles bridge, councillors hotel, cricket, cucksons brewery, d. nicholson, d.w. morrissey, dalry, daniel charleston, daniel harding, daniel jepps, daniel mccarthy, daniel mckenzie, daniel mcloughlin, daniel oloughlin, david boyd, david christian, david clark, david creighton, david rogers, david rolfe, david sharp, david shawcross, david smith, david stevenson, diamond accommodation store, diamond reef mine, dickson, dixon bertram, donald cameron, donald mcmillan, donaldson, dougald mcphee, dr barclay, dugald mcphee, dugald taylor, duncan fraser, duncan smith, dungey, e. hildebrand, e. stichlins, e.f. falkiner, e.j. hughes, e.m. garsed, e.w. morrissey, edith staff, edmund clarke, edmund cuckson, edmund hall, edmund picket, edward bage, edward beltison, edward bunker, edward ford, edward hindley, edward jackson, edward jones, edward kelly, edward qualtrough, edward staff, edward tresain, edward weller, edward whelpton, edward whilpson, edwin biley, edwin cartwright, edwin cohen, edwin deschamp, edwin mcleish, edwin rodda, edwin smith, effie rodda, eliza bellamy, eliza dawson, eliza howell, eliza nield, eliza smith, elizabeth cockshutt, elizabeth eiles, elizabeth fitch, elizabeth gillespie, elizabeth harris, elizabeth herbert, elizabeth hollow, elizabeth le juge, elizabeth plunkett, elizabeth whelpton, ellen hurst, ellen kearse, ellen quarman, ellen sweeney, ellen white, ellis, eltham cemetery, eltham hotel, eltham lower park, eltham market, eltham police station, eltham pound, eltham quarry, eltham racecourse, eltham roads board, eltham school, emile hude, emily anderson, emily blamire, emily coutie, emma smith, emma taylor, ephraim wyett, ernest baillie, ernest henrick, ernest steer, esther porter, ethel baillie, evan jones, evelyn hotel, evelyn observer, ewen cameron, ewen jones, f. chrimes, f. grundel, f.e. falkiner, f.r. howard, fanny benson, fanny white, felix hude, felix noisette, ferdinand ramseyer, flora vale, florence hurst, fogarty, forbes mackenzie, fords creek, frances kearse, francis baker, francis hales, francis raselli, francis steer, frank eiles, frank rogerson, frank tanner, fraser, fred hurst, frederick falkiner, frederick hurst, frederick muller, frederick nink, frederick walker, frederick wharington, friedrich muller, fryers gully, furphy, g. donaldson, g. houghton, g. turnbull, geanetta hude, george assender, george bear, george beare, george benson, george bird, george boston, george brain, george brandt, george burley, george buswell, george coutie, george eiles, george ewings, george ford, george godber, george goodman, george gray, george griffiths, george hall, george herbert, george horn, george kirk, george langhorne, george mann, george mclelland, george mosely, george neumayer, george orchard, george parish, george porter, george purcell, george ralph, george reid, george rocke, george rogers, george rolfe, george stebbing, george stebbings, george stebbins, george switzer, george symons, george thompson, georgina hilton, glenda moriss, glengloy, gold, goulstone, greensborough police station, gulf station, h. jennings, h. mann, h.h. farquason, hannah sunderland, happy valley, harkness, harold scarce, harriet hunt, harriet smith, harry hollow, hazel glen, healesville, heinrich hirt, helena peters, henrietta hill, henry arthur, henry ashmore, henry austin, henry brown, henry dendy, henry dineen, henry fowler, henry gardner, henry green, henry griffin, henry hart, henry hirst, henry hirt, henry hopkinson, henry hude, henry hurst, henry inch, henry jones, henry mills, henry scarce, henry st paul, henry stevens, henry stooke, henry thomson, henry vogt, henry wallace, henry wilson, herbert rodda, herman henrick, hermann lampe, hermann steinmann, hester staff, hitchill, holbert, honoree hude, hotel de france, hugh mccann, humphrey peers, humphrey spicer, hurstbridge, hurstbridge general store, i.h. clarke, ida adelskold, ignatz kinzel, ira pimm, irene donaldson, isaac briggs, isaac hickson, isaac hill, isaac kerr, isaac varby, isaac williams, isabella donaldson, isabelle herbert, j. dungate, j. eccleston, j. harkness, j. hartley, j. hude, j. irvine, j. jones, j. manduell, j. mason, j. mcdonald, j. mcnamara, j. 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P. S. Marion Dimensions: 107 ft 11 in X 5 ft 3 in Tonnage: 157 tons Built: 1897, at Milang, S. A. References: Book: "Murray River Paddlesteamers" by D. Wardle. pp.22 Riverboats and Rivermen by W. Drake & M. PagePaddlesteamers were a common form of transport along the Murray river in the early 20th century. This photo shows a number of travellers on the boat, judging by their attire, workmen, cook, men in suits and ties as well as a group of people sitting on the bank, possible a woman and children with dog waiting for the boat to depart. There is also a horse drawn wagon with a number of people on and around it that could be waiting to pick up goods (or have unloaded) from the boat. At the back of the boat stacks of wheat bags (?) are visible.Black and white photograph of P. S. Marion moored by a river bank. There is a group of men standing towards the bow and a horse drawn carriage on the bank near the stern. Copy of an original photograph.On the front: MARION on the bow of the boat and on the wheelhouse. On reverse, in pen: Marion. where? Stamped in black: National Library of Australia.riverboats,, paddle steamers, p. s. marion

In centre (left to right): Maggie MacInnes, Vera (?), Agnes Cameron (nee Bell), Ewen Hugh Cameron. Five other men standing on haystacks or with horses and carts all unidentified.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 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.Digital imagesepp, shire of eltham pioneers photograph collection, kangaroo ground, pigeon bank, haystack, cameron family, stacks, hay, farming, agnes cameron, e.h. cameron, maggie macinnes, vera (?), ewen hugh cameron

Brown cardboard covered, spiral bound A4 size book.Collected summary papersballarat college of advanced education, summary papers, peter coman, ian moore, john burrell, norm barling, roger slee, helen hayes, ross whitefield, denise walsh, geoff mcrae, wendy crebbin, frank williams, iteraera abera, valo valo, rob baker, george baume, chris bigum, nerida blair, bob boyd, david symington, geoffrey burkhardt, majorie carss, dawn muir, jim christensen, margaret clyde, desmond connelly, jack darmody, barrie dickie, gwenda chapman, pat duffy, anne piggott, laurie andrew, john budby, stephen duggan, maryann ehle, alison elliott, terry evans, daryl nation, barry fields, sue gillard, max gillet, mon khamis, noel gough, richard gunstone, jeff northfield, maurice hale, brian hansford, bill harrison, janice wilson, win haseloff, trevor hutchins, brian jacka, james lukabyo, hugo mccann, r. kerrison, peter mcnally, ian macpherson, dianna mannigel, genne marks, margaret marks, alan peacock, susan moore, judy mousley, helen watson, john henry, robin mctaggart, charles myers, john nicholson, lynne noone, peter olsen, marion curry, david bull, geoff orr, phil meade, john pearson, ray preston, ross price, robert peake, les regan, ian robottom, richard tinning, g. di chiro, maurice robson, carol scott, bob semmens, tony simpson, janette stapleton-hill, arthur smith, peter smith, frank sofo, rosemary stack, david townsend, tony townsend, geoff treblico, ted wadsworth, kathleen warren, don williams, john williamson, john lake, joseph zajda

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Colour photograph of a group of studentsviosh, victorian institute of occupational safety and health, ballarat college of advanced education, graduate diploma of occupational hazard management, john arentz, geoff brabrook, mary-anne camp, alistair carmichael, chris cooper, neil dine, sue forsyth, alan hawes, jim hondros, tony mckinlay, trevor mann, thomas mitchell, jack moroney, john o'neill, ted renton, chris schaper, lyn schrader, barbara stack, ivanka sucher, maggie thomson, cherilyn tillman

14 Stokes Place (Lot 83) was the home of Peter and Carla Vermey. The land was purchased in May 1979 and construction commenced September 1979. The home was built by Peter and Carla Vermey after the developer, Macquarie Builders went bankrupt. Sold October 2017 by Morrison and Kleeman Real Estate. Stokes Place was part of the Stokes Orchard Estate which was developed from the break-up of the the orchard owned by Frank Stokes who lived on the northeast corner of Nyora Road and Eucalyptus Road. His daughter Beryl advised that the Shire had levied a rate assessment on individual parcels of land within the orchard which became unaffordable resulting in its sub-division and sell off. The Stokes Orchard Estate was developed by Macquarie Builders in two stages starting with stage 1 in 1976. Stokes Place was part of Stage 2 in 1979. The Estate was bounded between Nyora Road, Eucalyptus Road, Diosma Road and Stokes Place. The original orchard only just reached the left most portions of Stokes Place and did not go fully up to Diosma, rather to just beyond the extant of Stokes Place. Stokes Place was known within the family as "The Oats" as that is where they grew oats. Frank Stokes moved to Eltham c.1945 after visiting Harold Bird to view his orchard, located diagonally opposite Stokes Orchard from the intersection of Eucalyptus Road, Pitt Street and Nyora Road. It was on Harold Bird's recommendation that Frank purchased the land.The Stokes Orchard Estate collection is typical of housing developments of the late 1970s and 1980s. It was one of the earliest estates in Eltham following the nearby Woodridge Estate development.Digital fileScanned by EDHS from 49 x 35mm colour transparencies provided on loanstokes place, eltham, stokes orchard, stokes orchard estate, streets, houses, peter and carla vermey

We have not statement of significanceWooden framed black and white photograph of a two foot gauge steel rail line from the mill sight to Alexandra. This locomotive, a Kraus, steam engine (year ?)is passing through Lower Rubicon. It hauls three carriages with timber and on the side of the rail there are open boxes. A wooden house on Gilmore's family property is halfway up the hill. The property shows signs of damage of the recent Goulburn River flooding in 1916. There is a hook in the top of the frame and writing on the bottom of the frame "Lower Rubicon 1916".On bottom of the frame "Lower Rubicon 1916?" written with black texta colour pen in capital letters. 1916, cottage, rail, locomotive, train, floods, dead trees, two foot gauge, timber stacks, goulburn river floods, gilmore, lower rubicon, carriages, rubicon, kraus

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for H0589 Rosecraddock 4-10 Craddock Avenue and 2-8 Keverell CAULFIELD NORTH https://vhd.heritagecouncil.vic.gov.au/places/35279 as at (30/10/2020) "Rosecraddock" is regionally important as a surviving large villa from the early Victorian (1850's) period, offering insight into the lifestyles of the privileged in Caulfield at that time. Its importance is enhanced through its long association with the Langdon family and, in particular, Henry Joseph Langdon, founder of H.J. Langdon and Company, China merchants. Victorian Heritage Database HO16 Rosecraddock, 2-8 Keverell Road & 4-10 Craddock Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35279 (as of 17/02/2021) A single storeyed stuccoed villa with west facing facade consisting of a parapeted and recessed central section with hipped slate roof and timber posted verandah with cast iron lace. Projecting pavilions have bayed windows and a secondary wing runs north with angled corners and prominent chimney stack. The front entrance is situated at the north end of the central section and is given emphasis by a small hip roof and false pediment to the verandah. Outbuildings include the timber stables with characteristic hay loft gablet and fretted barges to the south-east. Rear additions in brick and timber are of an early date and utilitarian in character. Also see https://vhd.heritagecouncil.vic.gov.au/places/277 for Significance Statement for the H0589 Victorian Heritage Register listing.Page 174 of Photograph Album with four photographs of Rose Craddock.Handwritten: "Rose Craddock" Rose Craddock Ave. top right] / Neg 197 Nov 1972 [under top left photo] / Neg 209 Nov 1972 [under top right photo] / Neg 196 Nov 1972 [under bottom left photo] / Neg 195 198 Nov 1972 [under bottom right photo] / 174 [bottom right]trevor hart, chimneys, porch, rose craddock, rosecraddock, ringwood, 1850's, henry joseph langdon, h.j. langdon, h.j. langdon and company, china merchants, rosecraddock place, slate roof, return verandah, decorative brackets, keverell road, caulfield north, early victorian style, protruding bay windows, cast iron work, rendered walls, entrances, mansions, craddock avenue

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 as at 30/10/2020 "Glenmoore" is locally significant as a surviving mid nineteenth century villa residence in the then fashionable bi-chromatic brick form. It is also important as the home of Hugh Moore who built several shops in nearby Glen Huntly Road and which remain as important contributors to the architectural character of the Elsternwick Shopping Centre.Victorian Heritage Database citation HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 An imposing two storeyed villa in bichrome brick with two storeyed timber posted verandah, coupled with cast iron lace frieze, spandrels and central tympanum enrichment. The hipped roof is in slate and has a prominent crean1 brick chimney stack forming part of the facade. Openings are flat arched although the entrance is round arched with a fan light. The south elevation has bayed windows. Two storeyed hip roofed additions are sympathetic and attached on the north side and at the rear. Inside, the staircase and stained glasswork with initials "HM" and family coat of arms are important surviving elements. INTEGRITY: Good, timber outbuildings of an early date, mature and spacious front garden includes early palm trees. Alterations include reconstruction of facade verandah including tiled pavement and front door on east side. Interior has a high level of integrity. Original grounds included adjoining "Carramar".Page 178 of Photograph Album with three photographs of Glenmoore, St Georges Road. Handwritten: "Glenmoore" 1 St George's Road [top right] / 178 [bottom right]trevor hart, chimneys, porch, mansion, slate roof, return verandah, stained glass, cast iron frieze, glenmoore, 1860's, hugh moore, glenmoore estate, double storey, elsternwick shops, st george's road, thomas watts, elsternwick, victorian style, protruding bay windows, cast iron work, bi-chromatic bricks, gardens, balconies, moore's buildings, glen huntly road, stairs, house names

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melbourne's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement.https://vhd.heritagecouncil.vic.gov.au/places/4442 Victorian Heritage Register: What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 60 of Photograph Album with three exterior photographs (one portrait and two landscape) of Anselm.Hand written: 4 Glenferrie Street [top right] / ANSELM 4 Glenferrie St [under top photo] / 60 [bottom right] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, gates, cast iron work

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melboume's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement. Victorian Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/4442 What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 61 of Photograph Album with one exterior photograph (portrait) of Anselm.Hand written: 61 [bottom left] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, brick house, attics

Index, bib, p.438.non-fictionPart I: Studies from psychology Introduction Instinct theories and comparative psychology The moral equivalent of war / William James The instinct of pugnacity / William McDougall Emotion and society / D.O. Hebb & W.R. Thompson Psychoanalytic perspectives Why war? / Sigmund Freud Personal aggressiveness and war / E.F.M. Durbin & John Bowlby Toward a psychiatry of peoples / Harry Stack Sullivan Wholeness and totality / Erik H. Erikson Authoritarian personality and foreign policy / Daniel J. Levinson Social learning and intergroup relations War, peace, and social learning / Mark A. May Drives toward war / Edward C. Tolman The role of expectancy / Gordon W. Allport Part II: Studies from sociology and anthropology War / William Graham Sumner The social function of war / Robert E. Park An anthropological analysis of war / Bronislaw Malinowski Warfare is only an invention not a biological necessity / Margaret Mead Primitive warfare: a methodological note / Joseph Schneider Part III: War, liberal democracy, and industrial society The military and the industrial society / Herbert Spencer The garrison state / Harold D. Lasswell On war, society, and the military / Alexis de Tocqueville Military elites and the study of war / Morris Janowitz War and industrial society / Raymond Aron.armed conflict - history and teaching, conflict - history

In the Sunshine Advocate of 21/03/1925 it is reported that Wunderlich Ltd decided to establish works in Sunshine for the manufacture of terra cotta and faience for the facing of city buildings. The product was intended to imitate granite, which would give a brighter appearance to concrete walls. A stone surface finish to the terra cotta could be achieved by applying a variety of colour combinations of glazes with a special 'spackle' gun. A building that is still standing and has the imitation granite finish terra cotta is the Nicholas Building at 21 - 47 Swanston Street, Melbourne. The Nicholas Building was designed by Harry Norris for Alfred Nicholas (Aspro fame), and was built during 1925 - 1926. The building is classified by the National Trust (B4079) and has the Victorian Heritage Register (H2119). During my employment in the factory from 1964 to 1969 the tiles were generally faced with single colour glazes. For some small jobs a light coloured mottled finish was achieved by spattering a white glaze over a cream coloured background or vice versa. There were no imitation granite jobs done, probably because of changing attitudes to the intended appearance of buildings. The green coloured tile in our collection is an unfinished (untrimmed) retain tile typical of the green coloured tiles that were made for the two stages of the Commonwealth Centre Building (colloquially known as the Green Latrine), that was once located on the corner of Spring and Victoria Streets in Melbourne. Similar coloured tiles were also used on some shop fronts. The Commonwealth Centre Building no longer exists, however the Century Building at 125 - 133 Swanston Street, Melbourne is covered with single coloured tiles (white). The Century Building was built in 1939, with the architect being Marcus Barlow. The Building is classified by the National Trust (B4045). Our tile along with several others were headed for dumping among the asbestos waste at the rear of the two Wunderlich factories (Circa 1968). With permission from the Factory Superintendent of the Terra Cotta factory they were saved and taken home. Several are still in use as pavers around a barbecue in Melton from where our tile was obtained. It should be noted that the Wunderlich Architectural Terra Cotta factory in Sunshine did not manufacture terra cotta roofing tiles, as reported in the Brimbank City Council Post-contact Heritage Study HO 073 former Wunderlich now West End Market. Wunderlich terra cotta roofing tiles were manufactured at their factory in Mitcham Road, Vermont. Document HO 073 contains at least 3 errors. Other References: (1). http://nla.gov.au/nla.news-article74726224. (2). Armstrong, J. 'Investigating the historic and current use, manufacture and conservation of architectural terra cotta and faience USA & UK'. This tile is an example of the type of facing that was applied to city buildings for over 40 years from the mid 1920's. As building techniques changed the need for this type of facing diminished, and so the factory was eventually sold and demolished. A free standing tall chimney stack which serviced two of the kilns was a significant feature of the North Sunshine skyline. A part of the history of Sunshine disappeared with the demolition of the factory and the chimney stack. Only the façade of the finishing section of the factory where tiles were trimmed and stored remains. Off-white/beige architectural terra cotta tile with green coloured vitreous glaze on the face of tile. The rear of tile is ribbed. wunderlich limited, terra cotta, architectural, commonwealth centre, spring street, sunshine, mcintyre, victoria street, faience, faence, imitation granite, nicholas building, century building