ContextualA good example of patient art/craftwork 32 Chess Set Pieces (16 Gold, 16 Silver) Moulded in Plaster of Paris (from rubber moulds) Some pieces with green felt on basepatient art, chess, games, recreation, therapy

This ornate cross sits at the right hand side of View of Trajan's column, Cast Courts, Room 46a, The West Court, Victoria and Albert Museum, London. Cast Courts: "When the Architectural Courts – or Cast Courts as they are now known – opened in 1873, The Builder magazine compared the experience of seeing them to a first glimpse of Mont Blanc, creating one of those 'impressions that can scarcely be effaced'. Since then, these two enormous rooms and the reproductions they contain have continued to impress and inspire visitors to the Museum. For centuries, antiquarian interest in world architecture and sculpture led to reproductions – or copies – being made of outstanding national monuments and notable sculptures. When the Museum was founded, it collected and displayed reproductions of great art and architecture from across the world in order to offer objects for study and tell a complete story of the history of art and design. Casts are made by placing several plaster moulds upon the surface of the original structure. Once hardened and removed, the moulds are then enclosed in an outer casing, the interior coated with a separating agent and the wet plaster poured in. When set, the pieces are then assembled and the joints and surfaces finished off, to make a complete reproduction of the original work. The finished product – as well as being a formidable technical achievement in its own right – enables admirers to study faithful reproductions of important monuments and works of art." Ref: https://www.vam.ac.uk/articles/history-of-the-cast-courtslondon, victoria and albert museum, cast courts

Long term loan from Neurological Society of Australasia Museum of Neurosurgical Instruments,South Australia. Catalogue with Historical Commentaries Second Edition January 2006 Copy located at RACS MuseumTrumble's Skull Plough or craniotome devised by Hugh Trumble (1864-1962 ) CRANIOTOME. This craniotome was designed by Hugh Trumble (1894-1962) of the Alfred Hospital, Melbourne, one of the eight founders of the Neurosurgical Society of Australasia. It was a modification of an earlier instrument, similar in principle but less versatile, designed by Sir Henry Souttar(l875 - 1964), a very inventive surgeon who worked in the London Hospital. Souttar also used a motor-powered circular saw when necessary. He cut very large circular bone flaps, exposing the occipital lobes and posterior fossa in a few minutes. Trumble reported the use of this craniotome as "an expeditious method of cutting bone flaps" and in the designer's hands this claim was certainly justified. To use the crauiotome, it was necessary to hold the skull rigidly, and this was done by embedding the head in a plaster mould. Three holes were drilled in the skull to fix the pin of the craniotome, and the flap was then cut in a series of three arcs, after which the flap was elevated with levers until its base fractured. The 'Trumbolian" instrumentation was used in the Alfred Hospital by a number of Trumble's pupils. The craniotome is made of steel, not plated and apparently not stainless. It is believed that Trumble made his craniotomes himself, in a backyard workshop.

Black and white photograph of eight men seated & standing with 2 bicycles, tools and waterbags. Water tank in background with sign reading 'Water sold here', photo is mounted on buff card with a fine line border and framed in an ornate wood & moulded plaster frame painted gold, markings read 'Iron Bark Camp Kalgoorlie', 'McNeill Photo', on the back of photo 'Jane'McNeill Photoperson, group, adults, kalgoorlie, mcneill, iron bark

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

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

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

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

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

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

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. The Barrowfield pottery was founded in 1866 by Henry Kennedy, an Irish native, in the Camlachie district east of Glasgow, close to the Campbellfield and Mount Blue potteries. It is believed that Kennedy started with just one kiln but by 1871 was employing forty men and six boys and such was the success of the enterprise that by 1880, no less than eight kilns were in operation and a year later one hundred and the pottery was employing eighteen people. Stoneware bottle production was a mainstay of the pottery and over “1500 dozen” were being turned out daily along with other wares, including 30-gallon ironstone containers. With so many kilns in operation, six hundred saggars were required every week but, unlike some potteries, these were made on the premises from Garnkirk and Glenboig fire clays. Pottery production reaches a high scale which presented a high risk of fire and Barrowfield was no exception. In April 1884 heat from a kiln set fire to the roof resulting in significant structural damage, the loss of unfinished wares alone amounting to £10,000 a very substantial sum in 1884.  The pottery recovered from this reverse but then Henry Kennedy died in July 1890. The terms of his will indicated that he and his sons John and Joseph were partners and this was reflected in a change of title in the 1891-92 Post Office Directory to Henry Kennedy & Sons. Despite the growth of the business there was still space enough, however, to allow china, earthenware and glass retailers Daniel and John McDougall to commence production of their Nautilus wares there in 1894, the success of which allowed them to soon move to permanent quarters at the empty Saracen Pottery, Possil. In around 1900 John Kennedy left to resurrect the liquidated Cleland Pottery and although Barrowfield remained listed as Henry Kennedy & Sons, brother Joseph was in control. In 1911 Henry Kennedy & Sons Ltd was formed, with two of the four directors being the Kennedy brothers. The pottery’s growth to this point was reflected in the eighteen kilns the largest pottery kilns then recorded in Scotland.   However, the disruption of the First World War and the combined effects of subsequent economic depression, US prohibition, hygiene regulations and competition from alternative materials posed severe challenges for stoneware potteries in the post-war years as they competed with each other for diminishing markets. Competitors such as Eagle and Caledonian Potteries fell by the wayside and finally, Barrowfield closed in 1929. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Stoneware was produced at Barrowfield pottery for the domestic and export markets, with South America being a large market. Barrowfield stoneware can be found throughout the world. Its longevity and abundant production makes the subject item a significant addition to the Flagstaff Hill Maritime Museum collection.Bottle, salt glazed stoneware, beige, some discolouration above base. Chip on base and on neck. Inscriptions stamped near base.Makers lozenge stamped, H Kennedy Barrowfield Pottery GLASGOW at base.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, h kennedy pottery, stoneware, ironstone, pottery, barrowfield glasgow

A death mask is a plaster or wax mould made of a human face shortly after death (around 30 minutes after the execution). The intention was to capture the likeness of the individual and maintain their facial expression and features before these became distorted in death. They differ from their counterparts the life masks which were made to preserve the likeness of an individual while alive. Death masks were often replicated and sold to various institutions and private buyers. Death masks were created for a variety of reasons. Organisations like museums and scientific institutes collected these masks to support the study of phrenology. Phrenology is the study of the conformation of a skull in an effort to understand the mental faculties and traits of an individual. This was undertaken in a period in which it was argued that the shape of a head could provide detailed knowledge into personality. In addition, death masks were also created to aid effigy making, as tools for sculpture and as objects of veneration. Death masks were often placed on display as objects of curiosity. Edward “Ned” Kelly was convicted of murder on the 29th of October 1880 and executed by hanging on the 11th of November that same year. In the 1800s it was common practice for authorities to make a death mask of an executed criminal. In Kelly’s case, there were multiple copies made of his death mask, one of which is in the collection of the Burke Museum. Copies of the official death Mask (attributed to Maximilian Kreitmayer) have been made by artists including Max Meldrum (1875-1955). It depicts the head, neck and partial right shoulder of Ned Kelly. Whilst generally considered to be a ‘pseudoscience’ today, phrenology and the study of the reception and use of artefacts like Ned Kelly’s death mask, can provide valuable insight into a past era’s views of personality and the human body. This mask presents a unique three-dimensional depiction of Ned Kelly shortly after his execution which is unlike any other depiction of him. It can provide vital information as to the use of death masks in Victoria and their popularity in the 1800s. These masks were mostly done of criminals and used for exhibition purposes alongside phrenological study. Phrenologist AS Hamilton used Kreitmayer’s replication of the mask (displayed in Kreitmayer’s Bourke Street waxworks the day after Kelly’s death) to report a detailed phrenological analysis on Ned Kelly and concluded from his research that the deceased had an “enormous self-esteem”. Portraits of living people represent the way they themselves and/or the artists wished themselves to be remembered. The death mask contrasts this and therefore, creates a likeness of a person in their entirety and not just an ideal representation. Therefore, the study of such artefacts and their history of use and disuse can provide interesting information valuable to understanding the past. Colour rectangular photograph printed on gloss photographic paper.Obverse: Reverse: AGFA kelly album, ned kelly, death mask, kreitmayer, old melbourne gaol, phrenology, craneology, 1800s, pseudoscience, burke musuem, max meldrum

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 156 of Photograph Album with four landscape photographs of Craigellachie - near views of architectural features. Handwritten: "Craigellachie" 273 Orrong Road [top right] / 156 [bottom right]trevor hart, verandah, orrong road, tower, curved windows, decorative brackets, italianate, mansion, 1870's, william pearson, inkerman street, apartments, spire, decorative plaster work, rendered walls, ornamentation, arched windows, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, cast iron work, victorian style, balaclava, st kilda east, gardens, ailanthus altissima, araucaria bidwilli, porches, trees

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 157 - four photographs of Craigellachie - exterior views. Handwritten: CRAIGELLACHIE [top left] / Neg 212 1973 [under bottom right photo] / 157 [bottom left]trevor hart, verandah, orrong road, tower, cast iron lacework, curved windows, decorative brackets, italianate, mansion, 1870's, william pearson, inkerman street, apartments, spire, decorative plaster work, rendered walls, arched windows, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, st kilda east, late victorian style, garages (private), gardens, cast iron work, ailanthus altissima, araucaria bidwilli, trees

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 158 of Photograph Album with one image of Craigellachie's exterior. Handwritten: "Craigellachie" 273 Orrong Road [top right] / 158 [bottom right]trevor hart, verandah, orrong road, tower, curved windows, decorative brackets, rendered, craigellache, italianate, mansion, 1870's, william pearson, inkerman street, apartments, spire, decorative plaster work, rendered walls, ornamentation, arched windows, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, land subdivision, gardens, late victorian style, cast iron work, st kilda east, ailanthus altissima, araucaria bidwilli, trees

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 159 - four photographs of Craigellachie - three room interiors and along the verandah. Handwritten: CRAIGELLACHIE [top left] / Neg 224 1973 CHINESE SITTING ROOM [under top right photo] / Neg 226 1973 / CHINESE SITTING ROOM [under top right photo] / Neg 214 1973 DINING ROOM [under bottom left photo] / Neg 213 - 1973 [under bottom right photo] / 159 [bottom left]trevor hart, verandah, orrong road, tower, curved windows, decorative brackets, craigellache, italianate, mansion, 1870's, william pearson, inkerman street, apartments, spire, decorative plaster work, rendered walls, arched windows, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, land subdivision, gardens, late victorian style, cast iron work, st kilda east, dining rooms, sitting rooms, furnishings, tiles

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant.From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 160 - four photographs of Craigellachie interiors. Handwritten: "Craigellachie" 273 Orrong Road [top right] / 156 [bottom right]trevor hart, orrong road, italianate, mansion, 1870's, william pearson, inkerman street, decorative plaster work, rendered walls, ornamentation, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, late victorian style, st kilda east, hallways, arched doors, stained glass, mrs francis, furnishings

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 HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 161 - four photographs of Craigellachie dining room Handwritten: CRAIGELLACHIE DINING ROOM [top left] / Neg 218 1973 [under top left photo] / Neg 217 - 1973 [under top right photo] / Neg 216- 1973 [under bottom left photo] / Neg 215 1973 [under bottom right photo] / 161 [bottom left]trevor hart, orrong road, curved windows, italianate, mansion, 1870's, william pearson, inkerman street, decorative plaster work, rendered walls, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, land subdivision, late victorian style, dining rooms, ceiling roses, furnishings, fireplaces, st kilda east

The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces, with TAFE students reportedly drawing from it into the twenty-first century. This plaster hand is inscribed “Waschatz, Modeller, Melbourne.” Otto Waschatz was a German plasterer who opened a plaster business in the Melbourne suburb of Richmond, and was responsible for the invention of the first true fibrous plaster - using a layer of hemp laid between plaster to create light and strong panels. By 1912 Waschatz's Lottoid Pty Ltd was a thriving and creative business, and possessed over 5,000 moulds for all kinds of plasterwork. The business closed in 1915, as the result of anti-German sentiment during World War One. Plaster cast of a hand used as a teaching aid at the Ballarat Technical Art School. The Victorian Education Department courses required art students to create studies based on ancient sculptures so copies of famous works were purchased as teaching aids. Among these courses were 'Drawing the Human Figure from Cast' and ‘Drawing from the Antique’. Waschatz, Modeller, Melbourneballarat school of mines, art, arts academy, ballarat technical art school, vikki nash, plaster cast, otto waschatz, lattoid pty ltd, school of mines, plaster copy, drawing from the antique, drawing the human figure from cast

'Ordsall', renamed 'Southesk' in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.Rare, and possible unique fragment of a plaster cornice from one of the most architecturally distinctive houses in Kew, demolished 1970.Section of plaster cornice removed from Southesk on the corner of Charles Street and Cotham Road, Kew, when it was demolished in 1970 by the City of Kew. The cornice has a narrow layer of previously coloured plaster which is now overlaid with a grey distemper. The foundation of the cornice is moulded cement. Remnant flowers moulded in the central band of the cornice include a rose and a sunflower. The plaster decoration was probably located in the entrance hall, dining room or ballroom, all of which were created in the 1870s by Michael Hennessy and decorated by the firm of art decorators, Cullis Hill & Co in 1882.Nilordsall, south esk, cullis hill, plasterwork, cornices, victorian interiors

Oval plaster relief depicting a mother suckling a child. Nonematcham skipper, mould, jewellery, mother and child

Rectangular plaster relief depicting a male and female nude. Nonematcham skipper, mould, jewellery, male, female, nude

Oblong plaster relief of a scrolling decorative design. Nonematcham skipper, relief, plaster, decorative design