A history of sixty cartoons with text by David LOW a New Zealander of Scottish-Irish parentage. In 1919 he started work in London. His cartoons on world affairs had a wide reputation in Europe before the war were banned in Germany in 1936. Book without cover containing 60 plus cream coloured pages of cartoons World at War A history in Sixty Cartoons with a narrative text by LOWdavid low, world at war

Hardcovered children's book called "All Because of Sixpence". Inside cover (handwritten) "Anglesea Presbyterian Sunday School" AWARDED TO "Jillian Murch - Junior Class 1961 - Heather Watmuff (teacher). Golden Way Series No. 10, 80 pages.Front: ALL BECAUSE OF SIXPENCE / CONSTANCE SAVERY / THE GOLDEN WAY SERIES.children's fiction, sunday school, jillian murch, heather watmuff

stawell

Mrs Florence Tangeystawell education

Children's book of short stories from the childhood collection of Monica Turner, nee Smith, descendant of early Kilmore business families, the Morrisseys and Hartnells.Brown cloth-covered hardcover book. Chequerboard design on central front cover. Spine frayed at top & bottom. Some foxing particularly front & rear pages. Previous internal hinge repair/reinforcing back & front. 135 pp. Good condition.Inside front cover, 'Elsie F. Morres'. Front flyleaf, '1/6'.children's literature, turner collection

245 p. : col.ill.fictionfiction

340 p. : plain dark green cover, title and author's name embossed in gold on spinefictioncharles morgan, fiction

Hardcover book, 378 pages. Book has a dark blue cover with gold embossed text.fictionheadon hill, children's fiction

224 p. : red/brown cover, section of original dust jacket pasted to front. Title and author's name hand printed on spine.fictionbertha m. clay, fiction, romance

with early in precise furrow irrigation ground water mounds developed on blocks which were detrimental to vine growth Aggie pipes were laid on grade on the clay layer of soil 4 to 5 foot deep or every 4th row of vines (forty four feet apart) to drain the perched water table and the accumulated salts from the vines root zone with early in precise furrow irrigation ground water mounds developed on blocks which were detrimental to vine growth Aggie pipes were laid on grade on the clay layer of soil 4 to 5 foot deep or every 4th row of vines (forty four feet apart) to drain the perched water table and the accumulated salts from the vines root zone Long clay cylinder horticulture, merbein, irrigation, pipes, furrow irrigation

White clay pipe, hollow tubular shaped with small drip catchment and threaded end for bamboo attachment.personal effects, smoking accessories, pipe, clay, smoking, china

Part of a collection of goldfield artefacts recovered from the Ovens Goldfields, including the Buckland Valley. The collection also included a large amount of Chinese pottery and artefacts, also goldfields bottles, jars and mining implements. Collected by Aldo Gios, late resident of Myrtleford. The Bright and District Historical Society purchased the collection of Chinese artefacts in 2010. In the collection were other items of interest, including this pipe and others similar.Relevant to the gold mining history of the area.Piece of a clay pipe. A section of the stem is missing. There is a chip on the outer bowl and numerous hairline fractures.Embossed woven pattern on one side of bowl and a shield shaped series of points (5) around the top. EDIND stamped on one side enclosed in a scroll.tobacco, recreation, pipe, clay, goldfields, smoking, leisure, gios

Envelope & newspaper clipping with photograph with caption 'PUNTERS Looking Over Competitors in "saddling paddock," Sister J. Harham, ambulance sea transport, Sergeant W. A. G. Heyes and Sister I. Clay found it almost impossible to decide which one to back.'Small envelope and torn newspaper clipping'Jean Hardham & Irene ^ nee Clay Woodward' 'relating to H078' [on envelope]sister j hardham, sergeant w a g heyes, sister i clay

Three articles from the Bendigo Advertiser, two from Thursday, October 14, 1965, the other from Saturday, October 16, 1965. The subject of all three articles is the clay deposit found at Axedale and what to do with it. Aileen and John Ellison Collection.bendigo advertiser, axedale, clay

Fullers Earth is powdered clay used as a cleaning agent amongst other things.Tin with lid. Paper labels adhered to lid and around body of tin. label on lid is white with Brown, beige and purple/blue printing. Label on body is white with gold and red/brown printing. Lid can be removed and reveals contents - white powder (Fullers earth).For Toilet For Nursery Fullers earth Extra Finely Levigated and Free from Gritfullers earth, clay, frank buckhurst

Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay

This portion of terracotta roof tile was salvaged from the wreck of the Antares by Flagstaff Hill diver, Peter Ronald. It has letters, numbers and symbols impressed into the clay by the manufacturer. The Italian barque Antares was an iron three-masted sailing clipper built in 1888 by Russell & Co of Port Glasgow originally named the “Sutlej” and renamed in 1907 the “Antares” when sold to the Semider Bros of Genoa Italy. The vessel left Marseilles on the 18th of December 1913 with its master captain Gazedo destined for Mullaly & Byrne of Melbourne with a cargo of roof tiles but failed to arrive. The wreckage was found near the Bay of Islands twenty-two miles east of Warrnambool after a body had washed ashore. Some of the timbers washed up were charred by fire, and a small boat's stern board with the name "Sutlej" led to the identification of the wreck as Antares which had been reported missing. According to later reports, the Antares wrecking was overshadowed by war news at the time. A young local boy had remarked that the Germans had arrived off the coast as he had seen them firing off shells and rockets, but his story was passed off as a joke. These rockets were most likely the distress signals from the stricken ship. The Italian barque/clipper Antares was sometime later reported as overdue. The wreck of the ship was later found at the base of a cliff at the Bay of Islands near Warrnambool in November 1914, there were no survivors.This tile is significant in its association with the wreck of Antares and is registered as a Shipwreck Artefact A/2. This tile is significant for its association with the sailing ship Antares, one of the last of the 'tall ships' to be lost along the southwest coast of Victoria, and the only wreck that took the lives of all people on board. The significance is recognised by its listing on the Victorian Heritage Register VHS S34. The Antares is significant as a sail trader carrying international inbound cargo. It is part of the Great Ocean Road Historic Shipwreck Trail.Roof tile; terracotta clay tile shaped for fitting together with other tiles. Inscriptions are impressed into the clay. It was recovered from the wreck of the Antares. Impressed text:”- E R I E S DE LA MEDITERRANEE” “ … T S – MI-LES BOU- R …..” Impressed symbol: (Sideways crown or tree) (could be TULLERIES DE LA MEDITERRANEE)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, roofing tile, building materials, antares, peterborough, 1914 shipwreck, sutlej, antares rock., bay of islands, terracotta tile, clipper, roof tile, building material

Bendigo Advertiser '' The way we were'' from Friday, March 5, 2004. School's in: Bagshot Primary School in 1923. Back row: Phyllis Smith, Ethel Clay, Gladys Peatling, Hazel Clay, Cliff Clay, Tom Gooding, Kevin Gooding. Middle row: Eric Baker (teacher), Herb Clay, Cyril Peatling, Ethel Peatling, Alma Clay, Grace Pollard, Beatrice (Dolly) Smith, Ernie Stanley. Front row: Morrie Clay, Wally Clay, Len Clay, Norman Clay, Bert Clay, Ivor Clay and Bill McGrath. The clip is in a folder.newspaper, bendigo advertiser, the way we were

In particular I have been using these methods of construction [slab] to interpret the traditionally spherical form of the teapot as a cubist painter might by squaring it up and transposing curved surfaces into planes and angles. These geometric versions provide flat surfaces for pattern making and light reflection, and the objects become increasingly more decorative than functional. I find enormous pleasure in bending convention to the verge of impracticality. But not so radically that l miss the challenge of producing a form that still incorporates most of the elements of a properly functioning teapot, such as the height of the spout to the pot, the ease of filling, emptying, and handling. Surface decoration plays a vital role in reinforcing the abstraction. Bold areas of black underglaze are applied with distinct boundaries dictated by the form’s angles and planes. In pairs or ad hoc groupings the teapots react with each other and the spaces between to present complex geometric patterns. High firing produces a dense, almost vitrified body and the surface quality I admire without the need for glaze. Although some with more functionality may be glazed inside.(http://www.diannepeach.com/, accessed 23 July 2021)Dianne PEACH (1947- ) Since being introduced to pottery by Milton Moon and David Smith in the mid 60s Dianne Peach initially focused on wheel thrown functional war, which expnded include the infinite possibilities of slab building and casting. This work was purchased from the "Fresh Clay' Exhibition in 1983.Electric kiln fired slip cast earthenware teapot with stencils and coloured glazes. Purchased from the 'Fresh Clay' exhibition, 1883.dianne peach, jan feder memorial ceramics collection, jan feder, ceramics, teapot, fresh clay exhibition