W Baker and Co-produced many different types of pottery at their Fenton Potteries, Stoke-on-Trent, Staffordshire England. The company was established in 1790 by Ralph Bourne and William Baker the company was working at capacity by the end of the century. By the late 1820's Bourne and Baker, in partnership with John Bourne, had acquired additional works opposite the first in 1833. With the deaths of John Bourne and William Baker, the partnership was dissolved, and then for a short time, the business was carried on by Ralph Bourne and William Baker junior and John Baker. By the early 1840s, William Baker was running it alone and was then using 'machinery for the potteries manufacturing operations in addition to the mill that was producing the raw clay. The business was subsequently carried on by William Baker and Company that were known for the making of printed, sponged, and pearl-white granite ware for export in the early 1880s at the Fenton works between Manor and Fountain Streets. The original works on the south side of City Road were by then an en-caustic tile works, apparently still in the hands of the Baker family. The pottery works flourished under William Baker’s management and by the middle of the nineteenth century with almost 500 employees was the biggest firm in Fenton. An early piece of ironstone Staffordshire pottery now a collector's item showing the types of domestic items that were exported from England to its colonies towards the end of the nineteenth century and into the beginning of the twentieth.Water pitcher ironstone ceramic white with raised embossed Lilly of the valley decoration around handle and lip sections. Marked on bottom, "Royal stone china, Baker and Co, England" with emblem of lion, crown and unicornflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, kitchen utensil, kitchen ware, water pitcher

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

George VI (Albert Frederick Arthur George; 14 December 1895 – 6 February 1952) was King of the United Kingdom and the Dominions of the British Commonwealth from 11 December 1936 until his death on 6 February 1952. He was also the last Emperor of India from 1936 until the British Raj was dissolved in August 1947, and the first head of the Commonwealth following the London Declaration of 1949, He married Lady Elizabeth Bowes-Lyon in 1923, and they had two daughters, Elizabeth and Margaret. KEELE STREET POTTERY (K.S.P) CO. LTD 1915–1958 Earthenware manufacturer at Keele St, Tunstall (to c.1958) and then at Meir Airport, Longton, as part of the Staffordshire Potteries Group.Coronation of King George VI and Queen Elizabeth c.1937 Commemorative Ceramic Mug. Individual Photo of King George and Queen Elizabeth surrounded by yellow wreath. 2 Flags either side. Crown in center of photos and G and E either side of Crown. Gold embossing on lip of mug. Writing at bottom of transfer is missing.KSP C England on basecoronation 1936, king george vi

Gwyn HANSSEN PIGGOT (1935-2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen-Pigott worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen Piggot was artist in residence at the Ballarat School of Mines.A small woodfired bowl by internationally renown ceramicist Gwyn Hanssen Piggot. gwyn hanssen-pigott, ceramics, gippsland campus, bowl, jan feder memorial ceramics collection, woodfire 86

The pottery was at Fenton, Stoke on Trent, Staffordshire UK and was established in 1825, by C J & GM Mason, they were succeeded by Mr. Samuel Boyle from whom the works passed into the hands of E & C Challinor, formally E Challinor & Co. Of Sandyford and Tunstall. The partners in Sandyford and Tunstall works are recorded as Edward Challinor Jnr and Charles Challinor Jnr and is presumably they are the sons of the partners of the Fenton pottery business. They produced china of white granite, printed sponged common earthenware for the American, Australian, and other foreign and colonial markets. The main goods produced were tea, coffee, breakfast, dinner, and toilet ceramic sets as well as other earthenware goods. Their pottery marks were the Staffordshire rope knot with or without E & C Challinor or just E C. An early piece of earthenware pottery made in England for the Australian colonial market around the mid to late 19th century.Serving plate white body, smooth rim, and blue oriental designRope knot motif printed on back in blue with letters EC warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, earthenware, ceramic, willow pattern, serving plate, e & c challinor, potteries

The manufacture of firebricks is believed to have begun in Bacchus Marsh in the 1880s when William Thomas Wittick in partnership with a Mr Ackers, and later a Mr Telford, quarried a rich deposit of fire clay at Darley. In 1902 financial assistance was provided by David Mitchell a significant businessman and contractor from Melbourne and the business then expanded and became a major supplier of refractories for gas works in Melbourne, with side lines in moulded fire bricks for foundries and smelting furnaces and complete kiln lines for potteries. The business traded under the name Darley Firebrick Company and later as Darley Refractories Ptd Ltd and was in business for over 100 years. The tile (aka refractory) described in this record was possibly produced for use in very high temperatures (in excess of 1,000°F [538°C]) encountered in modern manufacturing. More heat-resistant than metals, they are used to line the hot surfaces found inside many industrial processes. The date the tile was produced is unknown.Rectangle shaped ceramic tile'Darley 26' inscribed within a circledarley firebrick company, refractory materials, wittick family bacchus marsh, william thomas wittick 1857-1939, darley refractories ptd ltd

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as it is believed to be an early example of the SOL trademark made between 1913-1925.Ironstone wash jug and bowl set, white, often referred to as a ewer and bowl. Both jug and bowl have matching raised embossing of panels with floral motifs within them.Both items have marks "Ironstone China Reqd SOL 39/4/3 STG Meakin England" Trademark of J & G Meakin with sun emblem .flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug china white and basin, jug, jug and basin, jug & bowl, ewer, bowl, ewer & bowl, j and g meakin, ironstone ware, bathing, washing, personal hygiene

This plate was created as one of 5000 only to commemorate the Centenary of the Grand Lodge of Antient Free and Accepted Masons of New Zealand 1890-1990. It was conceived by Lodge St Andrew No. 32, and the design was authorised by the Most Worshipful the Gand Master of New Zealand.This item is significant to Jonadab because it was presented to the Lodge by WBro Donald Viles PGOrganist (New Zealand Constitution) - as a token of affection when he was Master of Jonadab Lodge in 1999-2000.Ceramic Plate - white with good rim and fourteen assorted Masonic Symbols in blue paint. Gold printing and gold UGLNZ sealPlate - Front "This plate commemorates the Centenary of Grand Lodge of Antient, Free and accepted Masons of New Zealand 1890-1990" Plate - Back "GRAND LODGE OF NEW ZEALAND CENTENARY PLATE" "This plate has been created as one of 5000 only to commemorate the centenary of the Grand Lodge of Antient Free and Accepted Masons of New Zealand" "Conceived by Lodge St Andrew No. 32 the design was authorised by the Most Worshipful the Gand Master" "Manufactured by Crown Lynn Potteries Limited, New Zealand" Blue Outer box - Front Inscription as above Blue Outer box - Back Inscription as above6y kimbolton, nz, centenary, plate, jonadab lodge, grand lodge, commemorate, lodge st andrew no 32, grand master, design, donald viles

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Plate china white oval with a pattern inscribed along the edge Inscription to base "EMPRESS" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Serving vegetable bowl with two handles on either end, plus a lid with a handle on the top lid also has a pattern around the edge.Inscription to base "J & G Meakin Manley England " warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish

ENIMATIC LAND OF BIRDS THAT SING FLOWERS FROMS SEEDS THAT SPRING OF REPTILES AND FISHES CREATURES FROM THE BEGINNING SUN AND MAN AND SCIENCE THE SYMBOLS THAT SILENTLY BUILD AND CHANGE IN COOL AND WARM YOU ARE THERE AND HERE OF YESTERDAY NOW THE SPLITTING EARTH MURAL BY JOHN GILBERT 1973John GILBERT (1935- ) Born Albury, New South Wales John Gilbert worked as a teacher while completing a Certificate of Art at the Technical College in Marlborough, before moving to Ballarat in 1958. He studied at the Ballarat Technical Art School, a division of the Ballarat School of Mines (1960-1961) receiving a Diploma of Art; and Croydon College of Art, London. Gilbert was a Senior Lecturer at the Ballarat Institute of Advanced Education (now Federation University) Art Department until his retirement in the late 1970s. In John Gilbert's Mount Helen studio he produced work marked with an incised 'Gilbert'. He had acquired a concern for form and an interest in sculpture from his teacher Neville Bunning, and from the British potter Hans Coper, whom he visited in 1968. He established two potteries in Ballarat , the Edinburgh Pottery (1972-2005) located within the Sovereign Hill precinct, and the Old Ballarat Pottery (1973-1994) located in the Old Ballarat Village opposite Sovereign Hill. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A large ceramic mural by John Gilbert commissioned for the wall of the E.J. Barker Library. The mural features brown and green glaze with features of indigo. The work has no particular pictorial representation. It is an arrangement of colour and form, designed for enjoyment rather than to analyse. The theme relates to the development of the Universe through basic symbols such as plant forms, fish, birds and to mans development through symbols of science and engineering. The outer edge is symbolic of earths crust being peeled away to reveal science and nature. The mural depicts the changing of seasons from Winter to Summer (left to right). The mural was completed at John Gilbert's Slate Gallery studio, Mount Helen, and took eight months to make.gilbert, artwork, john gilbert, art, ballarat school of mines, mural, ballarat institute of advanced education, ballarat pottery, ceramics, old ballarat pottery, edinburgh pottery

John GILBERT (1935- ) Born Albury, New South Wales John Gilbert worked as a teacher while completing a Certificate of Art at the Technical College in Marlborough, before moving to Ballarat in 1958. He studied at the Ballarat Technical Art School, a division of the Ballarat School of Mines (1960-1961) receiving a Diploma of Art; and Croydon College of Art, London. Gilbert was a Senior Lecturer at the Ballarat Institute of Advanced Education (now Federation University) Art Department until his retirement in the late 1970s. In John Gilbert's Mount Helen studio he produced work marked with an incised 'Gilbert'. He had acquired a concern for form and an interest in sculpture from his teacher Neville Bunning, and from the British potter Hans Coper, whom he visited in 1968. He established two potteries in Ballarat , the Edinburgh Pottery (1972-2005) located within the Sovereign Hill precinct, and the Old Ballarat Pottery (1973-1994) located in the Old Ballarat Village opposite Sovereign Hill. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Large stoneware pot with brown swirling glaze design. art, artwork, john gilbert, gilbert, ceramics, stoneware, alumni, edinburgh pottery, old ballarat pottery

Staffordshire dog figurines are matching pairs of pottery spaniel dogs, standing guard, which were habitually placed on mantelpieces in 19th-century homes. Mainly produced by Staffordshire pottery factories, these earthenware figures were also made in other English counties and Scotland. They are also known as hearth spaniels or fireplace dogs as they were positioned on top of the mantelpiece. Many other breeds were produced, particularly the greyhound, though the spaniels were especially popular and this is attributed to royalty favouring the King Charles Spaniel breed. In Scotland, they have colloquially been termed 'Wally dugs.' and were manufactured in bulk at potteries in places such as Pollokshaws in Glasgow and Portobello near Edinburgh. Though the most popular, the dogs were only one of many types of Staffordshire figures; other animals and human figures of various kinds were also popular. Staffordshire dogs are nowadays collectors’ items and since the 1720s, spaniels had been produced by various pottery factories in Staffordshire. The quality of the modelling and painting of the Staffordshire dogs may differ from factory to factory. As the popularity of the figurines increased towards the end of the 19th century, the quality began to decline. Thousands were manufactured but originals in good condition and their correct pairs are now uncommon. These figures continued to be made until the 1920s and early models are of better quality. However, reproductions were still being manufactured in 2009.Early 19th century pair of Staffordshire dogs used as a mantle place display however given their damaged condition and being of a later provenance have little historic or monetary value. Ceramic white dog, figurine one of a pair, with painted face and collar. Both are nearly identical except one sits to the left while the other sits to the right.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ornament, ceramic ornament, dog ornament

Gwyn HANSSEN PIGGOT (1935-11.07.2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen Piggot worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen-Piggott visited the Ballarat School of Mines Ceramics students, under the direction if lecturers Neville French and Prue Venables In 1994 she was artist in residence at the Ballarat School of Mines for six months. Gwyn Hanson Piggott received the Order of Australia Medal in 2002. Born Gwynion Lawrie John at Ballarat on 01 January 1935, Gwyn Hanssen Pigott died in London on 11 July 2018 London where she was for a solo exhibition of her new work. This item was purchased by the Ballarat University College Acquisition Committee. It is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. A bowl by internationally renowned ceramicist Gwyn Hanssen-Piggott. Photograph: HStudioart, artwork, ceramics, bowl, ballarat, gwynn hanssen piggot

Assay is a process of metallurgy and chemical analysis used to determine proportions of precious metals in ores and other metallurgy substances such as silver or gold. The process helps identify pollutants present within a sample and can indicate a high level of pollution in a mining site. Stoneware crucibles are used in the fire assay process due to their ability to withstand high temperatures. Fire assay is a three step process where by samples from the mine are ground in a find powder and then mixed with dry powder chemicals. This mixture is heated in a crucible to extreme temperatures (crucible fusion) until all of the powers fuse into a glass like slag. Once this reaction is complete, the contents are poured into a mold and cooled. In step three (known as cupellation) the mixture is separated in a fire assay cupel and once this is complete the cupel with reveal a small bead of precious metals. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running potteries in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Two stoneware vessels of differing dimensions (0287.1 & .2). Unglazed and porous, showing extensive signs of use. Stamped and marked on the outside. 0287.2 has a shaped pouring lip. Six smaller items, coins, buttons (0287.3,.4,.5,.6,.7,.8) were found with the crucibles but their relationship to the assay items is unknown.0287.1; Large crucible; Bendigo Pottery / E. 0287.2; Small crucible: Pottery / C Icity of greater bendigo commerce, city of greater bendigo mining, making a nation exhibition

Ironstone china pieces were common domestic items during the 19th to mid 20th century in many Australian households. This kind of china is not porcelain but porous earthenware, made of clay mixed with feldspar. Patented in 1813 by Charles James Mason in Staffordshire, England, it was an immediate success and became widely produced by a range of Staffordshire potters. J & G Meakin Pottery dates back to 1845 when James Meakin started a pottery business at Lane End in Staffordshire.nIn 1848 he moved the business to Hanley in Staffordshire, before retiring in 1852 and handing the business over to his two sons James and George, who carried on with the pottery, trading as J & G Meakin. The "SOL" and sun face trademarks were registered in 1912. The firm was taken over by the Wedgwood Group in 1970. In 2000, production under the Meakin name ceased. W. H. Grindley was founded at the Newfield Pottery in 1880 by William Harry Grindley (principal partner). Mr Turner and Mr Alfred Meakin were also involved. Early advertisements stated that they produced Earthenware and Ironstone China - particularly for the Canadian, United States, South American and Australian markets. The mark on this jug was used from c1891 until 1925. W. H. Grindley China was manufactured until 1991, making it one of the last Stoke on Trent potteries.These items are representative of a common domestic item used by households in the Wodonga district and throughout Australia, many manufactured specifically for the Australian market.A white ironstone jug and bowl. The jug features a leaf design embossed on the surface. The bowl has a small circle pattern around the rim. They are not as set as the jug bears the mark W. H. Grindley and the bowl was made by J & G Meakin.Underneath Bowl: above and below image of the sun: "IRONSTONE CHINA/ REGD. SOL 391413/ J & G MEAKIN/ENGLAND Underneath jug: above and below the royal insignia: ROYAL IRONSTONE CHINA / W.H. GRINDLEY & CO. / ENGLAND"ironstone, domestic items, staffordshire pottery

Gwyn HANSSEN PIGOTT (1935 - 11 July 2013) Born Ballarat Gwyn Hanssen-Pigott completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. As a teenager she was taught to through by Neville Bunning, Ceramics lecturer at the Ballarat Technical Art School (a division of the Ballarat School of Mines). Between 1958 and 1965 Gwyn Hanssen-Piggott worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen-Piggott visited the Ballarat School of Mines Ceramics students, under the direction if lecturers Neville French and Prue Venables In 1994 she was artist in residence at the Ballarat School of Mines for six months. Gwyn Hanson Piggott received the Order of Australia Medal in 2002. Born Gwynion Lawrie John at Ballarat on 01 January 1935, Gwyn Hanssen Piggott died in London on 11 July 2018 London where she was for a solo exhibition of her new work. It is believed this work was presented at the time of Gwyn Hanssen Piggott's residencey in Ballarat.. It is part of the Federation University Art Collection which features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Australian Studio CeramicsA bottle and two tumblers by renowned ceramicist Gwyn Hanssen-Piggott. art, artwork, ceramics, bowl, ballarat, gwyn john, ballarat school of mines, gwyn hanssen pigott

A brief history of Nunawading prepared by the Nunawading and District Historical Society to assist students requiring facts about the district's past. Published in 'Gazette Special Feature, 29 July 1970. Copy from Jessie Williams scrapbook.A brief history of Nunawadingschwerkolt, johann august, smith, l.l, dr, slater family, blackburn, gerard, tunstall, nunawading, ballyshanassy, mount pleasant methodist church, mitcham, blackburn primary school, no. 2923, blackburn road, railway road, potteries, railways, local history, box hill railway station, blackburn railway station, mitcham railway station

John DERMER (1949- ) Born Melbourne, Victoria John Dermer studied Ceramics at the Royal Melbourne Institute of Technology and Hawthorne State College (Diploma of Education), before working in potteries in England. Upon his return to Australia he established "Kirby's Flat Pottery" studio at Yackandandah, Victoria in 1974. John is proudly a product of the Leach/Hamada movement in ceramics. He sees this as a tradition that for him represents the essence of working with clay. The lines are pure and balanced while the forms are honest, proud and passionate. Yars of research and experience in salt glazing were rewarded in 2006 when John Dermerwon the highly prestigious Saltzbrand Keramik International Award in Koblenz, Germany. Another avenue of ceramics for which John is renowned is in the field of terra sigillata. This passion had its foundation back in 1987 when he received a major commission from Romaldo Giurgola and Pamille Berg for the new Parliament House in Canberra. During the completion of these massive pieces for the Prime Minister’s suite and Cabinet entry he had to invent and develop methods for decorating and firing the pots successfully. The completed pieces are still regarded by John as some of his finest works. John Dermer was a visiting lecturer to the Gippsland Centre of Art and Design (GCAD). This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Salt glazed stoneware pot This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Signed on base 'John Dermer'john dermer, ceramics, artwork, artists, gippsland campus, jan feder memorial ceramics collection, salt glaze, kirby's flat pottery, stoneware

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery

Life’s a Dish was a tourism campaign created by the City of Greater Bendigo in conjunction with Bendigo Pottery to encourage food tourism within the City. Seven restaurants and cafes whose menus featured local ingredients were chosen to participate with their businesses promoted on ceramic dinner plates. Customers were encouraged to purchase all seven plates and were then eligible for the eighth ‘Connoisseur Master Plate’ free. The limited edition plates were made by Bendigo Pottery and artist Sue James was employed to work with each resturant on a design, hand painting each plate. Plates were priced at $25.00 each and were also available at the Visitor Centre. This is the second Life's a Dish series and artist Faye Brady was the painter of the first series, of which we currently have no examples. The first Life's a Dish series launched in 2006 featured Balgownie Estate, Bazzani Italiano, The Bridge, Gallery Cafe, Georgie's Cellar Restaurant, GPO, Goldmines Restaurant and Bar, Let's Get Saucy, The Puddler, Quills, Raffaelles and Whirrakee. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running potteries in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Set of eight dinner plates each featuring a hand drawn design which encompass the restaurants defining features. Restaurants include Domaine Asmara (0407.2), Gallery Cafe (0407.7), Hotel Shamrock (0407.5), La Piazza (0407.3), Malayan Orchid (0407.6), Quills (0407.1)and Twenty 2 (0407.4). The eighth plate features the words 'Life's a Dish - Connoisseur' / 'Bendigo & Region' (0407.8)bendigo pottery, city of greater bendigo tourism, sue james

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Stoneware circular container with wide opening, brown top and off white base glazed finish Marked "1" on brown glazed rimflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, stoneware container, kitchen storage, kitchen ware

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown salt glaze stoneware bottle None (possibly made by Royal Doulton UK)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, bottle, stoneware bottle, storage, kitchen ware, salt glazed, stoneware, shipwreck coast

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance and origin of manufacture is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past. Stoneware jug badly cracked and repaired with handle and short neckNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, earthenware jug, kitchen storage

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthenwares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown Stoneware jug with short neckThe number "1" under neck flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, salt glaze

Johnson Brothers were a British tableware manufacturer and exporter that was noted for its early introduction of "semi-porcelain" tableware. It was among the most successful of the Staffordshire potteries which produced tableware, much of it exported from the 1890s through the 1960s. They were also important manufacturers of large bathroom ceramics. The company was founded in 1883, but from 1968 to 2015 it operated as a part of the Wedgwood Group. However, after the Wedgwood Group was acquired by Fiskars in 2015, the production of Johnson Brothers was discontinued. The company's name derives from the names of the company's founders. The four original "Johnson Brothers" were Alfred, Frederick, Henry, and Robert. Their father married the daughter of a master potter, Alfred Meakin. In 1883, Alfred and Frederick Johnson began production at defunct pottery, known as the Charles Street Works, that they had purchased at a bankruptcy sale in Hanley, Stoke-on-Trent. At first, they specialised in the manufacture of durable earthenware, which they called "White Granite". The success of this venture led to rapid expansion. In 1888, the Rev. Henry Johnson joined them, followed ten years later by a fourth brother, Robert Johnson. Having established a solid reputation producing basic "whiteware", the company developed a product known as "semi-porcelain", a range of pottery that had the characteristics of fine china, but the durability of ironstone ware. This kind of tableware soon became very popular in the United States due to its durability and low cost. In 1889, the Hanley pottery was opened, later the Alexander pottery, and in 1891 the Imperial Works Pottery. In 1896, the Trent Sanitary Works was opened for the production of non-tableware products, and Alfred Johnson left the business to establish his pottery. By 1898, Robert Johnson had relocated to New York City to manage Johnson Brothers' rapid expansion into the North American market. An item that gives a snapshot into the emerging market for tableware that was reasonably priced and serviceable. The company produced "whiteware" but the innervation of the pottery line called semi-porcelain changed the industry. This allowed potteries to produce fashionable pottery items that were affordable to all social classes of the time. Bowl white ceramic decorative with floral decoration around lip. On base, "Royal Ironside China, Johnson Bros England" & crest of lion and unicorn flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, bowl, china bowl, lion and unicorn crest, table ware, kitchen ware, white ware, johnson brothers

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Stoneware circular container with wide opening, brown top and off white base. Handholds moulded on each side glazed finish, cracks in base.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, stoneware container, kitchen storage, kitchen ware

Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern

This crucible was raised from the wreck of the Loch Ard. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mold to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. (For more information on the Loch Ard wreck see note sec this document) The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the crucible is a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.A medium size crucible, or fluxing pot, for heating and pouring molten metal. The container rises in a slight curve from a smaller flat base to a wider open top with a lip for pouring. It was recovered from the wreck of the LOCH ARD. The crucible has a coating of sediment that obscures its numerical specifications of size and capacity. The markings that remain visible indicate it is a Morgan’s crucible, made with graphite to prevent cracking and provide a smooth non-adhesive inner surface. .On base: “…ORGAN’S …ENT”flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot