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Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic -
National Wool Museum
Photograph - Portrait of Julie Riley and Jennie Turner, Nicole Marie, 2021
Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Julie Riley and Jennie Turner - Friends of the Hooded Plover Breamlea The hooded plover is one of Australia’s most threatened birds. Although they spend their whole life on the beach, they have one of the lowest breeding success rates of all birds. Although severely threatened, in the last decade their numbers have slowly stabilised as volunteer groups and conservationists have stepped in to protect their breeding grounds. Julie and Jennie run the hooded plover volunteer program in Breamlea. To those who work with them they are, “a powerhouse of strength, resilience and determination to help these birds survive”. They put in hundreds of hours of works over a season for it to often eventuate to nothing. If a person crushes a nest or a chick is lost the day before it’s due to fledge, all their efforts are gone. But after each failure they continue to show up and slowly things are changing. Photo at Breamlea by Nicole Marie.Image showing an environmental portrait of a two women standing with sand dunes in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers -
Mentone Grammar School
Principal (1939-1960) John Jeffrey Thorold
In October 1939, on the sudden death of his father, Headmaster Charles C Thorold, son, John Jeffery (J.J.) Thorold, a 26-year-old accountant and sole beneficiary and executor was suddenly responsible for 42 students. Numbers had dwindled during the Depression and the situation was so dire, J.J. put the School up for sale. Fortunes changed when the parent of a boarder offered financial support and together with the skeptical backing of Francis Wellington Were, father of J.J.'s step mother, Jessie, the School numbers grew during the war from 50 to 280. The majority of the newcomers were boarders and evacuees from northern Australia as well as England. J.J. adopted the title Principal and worked tirelessly to build the school. He briefly appointed Arthur Burnaby as Headmaster before his search for a permanent Head resulted with the appointment of Lionel Ashley Large in 1945. -
Federation University Art Collection
Sculpture, 'Mungo Moon' by Don Barrett, 2015
'Mungo Moon' by Don Barrett is the first sculpture erected on the Churchill Art and Culture Pathway. It was officially unveiled by Professor David Battersby on 15 April 2015 From Churchill & District News 16 October 2014 The Churchill Art and Culture Walking Pathway will have its official public opening on Saturday October 18, with a walk finishing at Federation University Australia’s Switchback Gallery at the Federation University Gippsland Campus. ... An important link on the newly developed pathway was recently completed with a path south of the FedUni Student West Residences. The path now allows walkers to turn off the Eel Hole Creek path before reaching Glendonald Estate and to follow a picturesque, tree lined walkway to join up with the footpath on the Eastern side of Northways Road. From there the footpath joins into Federation University’s network of walking paths that proceeds past the Switchback Art Gallery, down through the pine plantation and along Lake Kretlow and the Churchill Golf Course. Project Manager Mike Answerth, said the opening of the West Residences section of the path means there is now only one short link to complete. “We’re now very close to realising the project’s objective to join up all these walking paths to provide a continuous pathway that encompasses town, campus and parkland. The next stage of the project will be the completion of Latrobe City’s East West Link and the enhancement of the walking path with artistic and cultural features.” said Mr. Answerth. Head of Federation University Australia Gippsland Campus, Dr Harry Ballis, said the project had been made possible through the contributions of the five former Gippsland Education Precinct (GEP) partners. “The Art and Culture Pathway represents another important step in joining the Churchill township and the university campus as a physical and social entity,” Dr Ballis said. “This was an initiative of the GEP and it is pleasing to see it coming to fruition.” The path now reaches as far as the golf driving range but plans are already under way to connect with the Mathison Park board walk and pathway, which surrounds Lake Hyland in Churchill. When the loop is completed, residents and visitors will have an approximately 5km circular walking path which links up the Churchill town centre, Federation University Australia and Mathison Park. There are already art features along this route, including primary schools’ Bug Blitz totems near the Kurnai College school crossing, native vegetation and history panels near the Hare Homestead in Mathison Park, and outdoor sculptures in the pine trees near the Federation University Switchback Gallery. contemporaryA large sculpture in five pieces set in an external location. It is part of the Churchill Art and Culture Walking Pathway. Don Barrett’s work is mainly in concrete with added coloured oxides to portray the feeling of the Australian landscape. Barrett focuses on concepts of Australia’s short history and indigenous history. churchill art and culture pathway, barrett, don barrett, gippsland campus, federation university, churchill, sculpture -
Ballarat Tramway Museum
Photograph - Digital image Set of 4, W. J. Llewelyn, 1/02/1975 12:00:00 AM
Yields information about the official opening by the BTPS of a tram service in Wendouree Parade. Has a strong association with those involved.Set of four images of BTPS trams, 40, 27 and 14 at the depot in preparation for the official opening of the BTPS Wendouree Parade tramline - 1/2/1975 as the Ballarat Tourist Tramway. .1 - General scene of the depot - Peter Winspur? by the step of No. 27. .2 - Front of No. 40 showing the special panel made up to celebrate the event - extracted from .1 .3 - View of No. 14 extracted from .1 .4 - ditto of No. 27 Images scanned and altered by Roderick Smith from the Hugh Ballantyne collection August to September 2017.trams, tramways, opening, first tram, btps, wendouree parade, depot, secv, tram 27, tram 40, tram 14 -
Ballarat Tramway Museum
Photograph - Digital image Set of 10, George Coop, 1968 - 1970
Yields information about the tram operations and the landscape views of the Sturt St median strip.Ten (10) Digital images taken by George Coop during the period 1968 - 1970, of SEC trams in Sturt St, between the City and Pleasant Streets. .1 - Tram 26 climbing the Sturt St hill to Lydiard St, with the Cook's Private Hotel, the Commonwealth Bank and the National Mutual Life building in the background. Photo taken from the Titanic Bandstand. .2 - Tram 40 Sturt St, enough to Lydiard St North just before Raglan St. Has a lady passenger by the tram stop. .3 - Tram 30 - Sturt St north side, near Armstrong St, - has a blue framing line around the photograph. .4 - Tram 39, Sturt St, near Doveton St, shows the rotunda in the median strip. .5 - Tram 18, with median step in view. .6 - Tram 31, with two Johnnie Walker whiskey roof adverts, outside the National Mutual Life building with the Alan Bros Jewellers and Golden Star Chinese Cafe in the view. .7 - Tram 31, Sturt St south side with Town Hall and the Golden City Hotel in the view. Tram has destination of Gardens via Drummond North. .8 - Tram 41 - ditto - going to Sebastopol. .9 - Tram 13, south side, Gardens via Sturt West, about , near Ripon St, with the Ampol service station in the background and about to pick up a lady passenger .10 - Tram 17, near Doveton St. Has a Twin Lakes sign and a Wilkinson Sword Razor Bladese roof advert. trams, tramways, sturt st, raglan st, passengers, doveton st, tram 26, tram 40, tram 30, tram 39, tram 18, tram 31, tram 41, tram 13, tram 17 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Domestic object - Jug
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug -
Dandenong/Cranbourne RSL Sub Branch
Newspaper, The Age, Friday June 9th 1944
... events in Wartime. Invasion of the Bulge. Air Offensive Stepped ...Age Newspaper 8 pages cost 2d.non-fictioninvasion of the bulge. air offensive stepped up. -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Pultenaea humilis (Dwarf Bush-pea), 1977
Par of "Woolcock Gallery Collection". Exhibited CEMA 1989.Flower stem view on left, with flower details on right, leaf and stepal details on left. On far left are two leaf views of front and back in dark green - back view shows smalls hairs on leaf. On lower left is a side view of the leaf. The stem study depicts leaves up both sides of the central stem and side stems. Two stems have flowers near the top end. The flowers are dark yellow with an orange tinge, with red and purple centres. On right is a detail of stem and leaves, two side views of flower buds, a top view of full flower and a side view of full flower. Mounted in a double matt (off-white on pale tan) in a gold paint and wood glazed frame.Front: Pultenaea humilis (lower left) (pencil) CEW 29/1/77 (signature, lower left) (pencil) Back: 3 (upper left) (pen)cema, botanical, collin woolcock -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1910
Yields information about ESCo tram No. 10, uniforms, passengers and the tramcar equipment.Black and white photograph, digital print, of ESCo 10 with Motorman, Conductor and two passengers standing on a step. Tram has the destination of Lydiard St Nth, track backs, rolled up canvas blinds. On the pillar nearest to the camera is hanging a Section Staff. Photo shows the painting scheme on the side in detail and front dash panel lining and numbers. Also shows the sand pipe, hand brake type, lifeguard and some of the internal signage. Photo c1010trams, tramways, esco, lydiard st, motormen, conductors, safeworking, crews, tram 10 -
Flagstaff Hill Maritime Museum and Village
Vehicle - Spring Cart, Late 19th to early 20th centuries
A spring cart is a two-wheeled, one-horse cart, often with the driver standing up to drive it, and otherwise seated on a simple seat. Carts like this one had springs to make the ride smoother. It is a lighter version of a farm dray and is sometimes called a spring dray. Spring carts were often used on farms for carrying loads. In the towns, some businesses used a spring cart for deliveries of bread, milk and other goods. The carts would be used for travel and for families going on outings and picnics. Visitors to Flagstaff Hill Maritime Village from 1986 to 1992 would enjoy watching a Clydesdale horse named Duke as he worked around the village with his driver Pat McGowan. He would be hitched to a wagon or to this lightweight spring cart or sometimes he would pull the wagon with the cart attached as a trailer. The cart was used for maintenance, carting loads of timber or stone around the site or from town to Flagstaff Hill. Sometimes Duke and the cart would take visitors for cart rides around the Village. Pat McGowan was known for his restoration of horse-drawn vehicles including this spring cart. He already had 40 years of horse handling experience when he began looking after Duke, feeding and harnessing him and driving the horse and cart around the Village. Pat’s dog ‘Yabbie’ would often join them. In August 1992 Duke had to be put down. Warrnambool Veterinary Clinic and other fund-raisers began well-supported appeals and the beloved horse was replaced by a Clydesdale also named Duke (the second), who began work in late October 1992. He, like his predecessor, had a quiet temperament and was comfortable in the traffic. The spring card is an example of vehicles used on farms, for business delivery and for domestic transport in the late-19th and early-20th century. This cart is of note for being associated with the Clydesdale horse Duke which pulled the cart around Flagstaff Hills in the 1980s and 1990s, representing transport of that period.Spring cart; two-wheeled cart with shallow box tray and plank seat bolted across the front. Wheels have metal rims and fourteen (14) wooden spokes. A plank is bolted from side to side. A decorative metal step is on the cart's left and has acorn cut-out shapes in the plate. Both wheels have a brake block that is operated by a lever on the cart's right. The cart has eight-leaf suspension from front to back. The box tray is painted blue and has decorative pale yellow detail. Each shaft pole has has a handle fitting on it. (Horse equipment with the cart is a leather covered, straw filled collar.) flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, springcart, spring cart, jingle, horse-drawn cart, one horse cart, two-wheeled cart, dray, spring dray, wagon, transportation, travel, cart, duke, clydesdale, pat mcgowan, delivery cart, yabbie, cartwright, horse-drawn vehicle, transport, horse cart -
Mission to Seafarers Victoria
Letter - Correspondence, 29/06/1951
Allan's mother comments on the high cost of living in Sydney; lamb chops are six shillings and eight-pence a pound and only four shillings a pound in Melbourne. They have brought six pounds of butter with them as butter is very difficult to buy in Sydney. She and Allan's step-father Kip Hayes are staying with 'Jim' and enjoying catching up with friends and relatives. She has sent Allan a cake for his 23rd birthday which is on the 2 July.Quinn CollectionThree-page letter written on three sheets of lined, cream-coloured paper (0876.a1-3), headed McCleay Regis and dated 29/06/51. (This should probably be Macleay Regis). The matching envelope (0876.b) is addressed to Mr A. Quinn, C/- General Delivery, G.P.O., Oslo, Norway. It is postmarked Sydney and bears an Australian 1 shilling, 6 pence stamp. On the back are two indistinct postmarks and an unidentifiable square stamp which appears to have been reversed.Letter commences "Allan Dear,"......and concludes "...From your Mum."letters-from-abroad, allan quinn, oslo, alette andersen, sydney, kip hayes -
Federation University Art Collection
Painting - Artwork - Painting, 'Professor David Battersby' by Ron Penrose, 26/07/2016
Professor David Battersby, AM, PHD (Waikato), MHED (UNSW), Vice-Chancellor of University of Ballarat, now Federation University Australia, from July 2006 to 2016. Professor Battersby is a graduate with first class honours from the University of New South Wales and recipient of a Commonwealth Fellowship. He was awarded his PHD in the field of Sociology from the University of Waikato, New Zealand. Professor Battersby has been the recipient of numerous academic awards, including Commonwealth Relations Trust, and the Australian-Japan Foundation. He has been a Visiting Professor at universities in a number of countries and undertaken consultancies for UNESCO, OECD and a number of government agencies. Professor David Battersby was the Head of the Albury Wodonga Campus from 2000 to December 2003 and was also the Deputy Vice-Chancellor of Charles Sturt University until 2006, when he took up his appointment at the University of Ballarat. Charles Sturt University has named its annual prize for leadership and good citizenship within the student body, in honour of Professor Battersby. For services to Tertiary Education as a Senior Academic and Administrator, Professor Battersby received the Order of Australia Medal in July 2015. Professor Battersby has served as a member of the Board of IDP Education Ltd, he recently stepped down as the Chair of Education Australia Limited. He is a Founding Chair of Regional Universities Network and Founding Chair of the Museum of Australian Democracy at Eureka. (Education Australia Limited, http://www.educationaustralia.com/education_australia/board_of_directors/david-battersby.aspx). This item is part of the Federation University of Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Seated portrait of male dressed in blue / gold academic gown. It is Federation University Australia Vice-Chancellor David Battersby. Framers' stamp middle bottom back Marking reads: Conserve Framing Anna East Picture Framer 6 Darlot St Horsham 3400 Phone (03) 5382 5147 ABN 33 324 854 836portrait, vice chancellor, academic, seated, academic portrait, university of ballarat, federation university australia, david battersby, academic regalia -
Ballarat Tramway Museum
Slide - 27 mm sq slide/s - set of 20 - BTPS Official opening, Lilian Butler, 1/02/1975
Yields information about the Official opening of the BTPS operation in Wendouree Parade in 1974 and has a strong association with those involved.Set of 20 Kodachrome of the Official Opening day of the BTPS Wendouree Parade tramway. .1 - BTPS Depot and associated trackwork with two people sitting on the door step. .2 - 40 and three single truckers lined up for the opening ceremony .3 - ditto .4 - Opening ceremony with speeches etc, the band (The Ballarat Memorial Soldiers Band) .5 - ditto .6 - ditto .7 - ditto .8 - ditto .9 - Bill Jessup holding the opening banner just after being broken - Clyde Croft in the cabin of the tram. .10 - close up of the front of 40 .11 - trams in Wendouree Parade] .12 - ditto .13 - 14 passing another tram at the loop .14 - 40 ditto .15 - Some enthusiasts hiding under the trees. .16 - turning the pole .17 - Gavin Young and Graham Jordan standing on front of 26 .18 - ditto .19 - putting the pole on the overhead .20 - Former driver? standing at the No. 2 end of 40. Photos from the collection of Lilian Butler. ballarat, tramways, trams, btps, wendouree parade, opening day, tram 40, tram 14, tram 27, tram 26 -
Ballarat Tramway Museum
Slide - 27 mm sq slide/s - set of 11 - moving trams 30, 31 and 32, Lilian Butler, 4/10/1971
Yields information about the transfer of trams to storage at the B Power Station following closure of the SEC Ballarat system.Set of 11 Kodachrome cardboard slides of the relocation of No. 30 and 32 from the SEC Ballarat Depot the SEC Ballarat B Power station yard 4/10/1971 - See Reg Item 3929 for list of dates of tram disposal. .1 - SEC owned truck leaving with No. 30 on board .2 - ditto with No. 30 turning into Wendouree Parade .3 - ditto .4 - ditto arriving B Power station yard with the chimney in the background - note still has its truck attached to the tram. .5 - At the yard with the tram jacked up to release the truck. .6 - No. 30 about to be lowered. .7 - Lil Butler? standing on the step of No. 30. ,8 - No. 30 on the ground - on blocks. .9 - No. 32 loaded onto a truck at the depot. .10 - turning onto Wendouree Parade with No. 32 .11 - No. 30 and 32 at the SEC B Power Station yard Photo from the collection of Lilian Butler. ballarat, tramways, trams, sec, depot, tram disposal, transporting trams, power station, tram 30, tram 32 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, George Netherway, 30/08/1937 12:00:00 AM
Copy photograph of a small photograph contained within item Reg. No. 587. Photo is the trolley pole being turned by conductor/motorman of the first tram to Lydiard St. Nth 30-8-1937. Both step boards of tram are up showing doors closed. Trolley pole rope has a flag on it. Caption on 587 is "First Tram at Terminus, Driver swinging pole to return to city" Person turning pole has a cash bag over shoulder. Destination on tram is "SPECIAL". Hi res scan of negative used 7-5-2020.trams, tramways, ballarat, lydiard st. nth extension, new track, tramways , tram 32 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s and Digital Image, Syd Harvey, ESCo No. 12 outside Wendouree Parade depot, c1920
Black and white photo of ESCo No. 12 outside Wendouree Parade depot, post the 1912 installation of Motorman's windscreens. Both blinds rolled up. Has roof advertisement for "Carter & Werner Opticians" and a step ad for "Eureka Cos. BO Punch". Seat backs facing for passengers to sit on the outside of the tram., that is have yet to be relocated to face inwards only. See image 757.2 - that shows this. Three copies of photo - both from a copy neg. Copy 1, circa 1980, Copy 2, by John Phillips, 1993, Copy 3 ex Ken Magor, sent by Wal Jack to Ken. Rear of this print has extensive details on rear.Yields information about the appearance of one of the Museum's tramcars at the time of fitting windscreens and demonstrates the evolution of the ESCo's tramcars, and advertising. Image 757.2, is different to others in that it is fitted with a chain along the sides and a pay as you enter sign at the rear.Series of black and white photographs of ESCo tram 12. 757.2 - on rear in ink "24a)", top left hand corner and along bottom edge "Car 12 at Lake Wendouree near depot Sydney Harvey" and "William F Scott" address label in the bottom left hand corner., See image i4 for details of Wal's notes on back of photo.trams, tramways, esco, windscreens, tramcars, roof ads , tram 12 (esco) -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1913
Black and white (slightly sepia toned) photo of ESCo No. 8 - side on view of tram. Has Driver standing by front of tram, a person, possibly conductor standing by rear, though tram set up for one man operation. Good detailed side view of tram, showing arrangements of blinds, seats etc. Has "Suttons Pianos" advertisement on side and "Pictures Coliseum tonight" ad on the inside middle window. Tram has been converted to have windscreens. Three ladies on the front seat section of the tramcar. Date unknown. Post 1912. Tram still has magnetic brakes. The step section by the seats has not been covered over with sheet metal to prevent people standing on the steps, as shown in later photographs.trams, tramways, esco, 8, suttons pianos, ballarat, tram 8 -
Kiewa Valley Historical Society
Contex Adding Machine, Office Equipment
1946 One of the first Contex calculators, the Half-Keyboard Adder used Leibniz step cylinders to perform simple addition. The predominant use of this Contex would have been adding sterling currency. Starting from the right, the levers were used for half and quarter pence, the next row would be pence, followed by shilling up to 19, and pounds. On the far left there is a zeroing lever for the entire mechanism; Ref: Online: 'physicsmuseum.uq.edu.au'Used by the office staff at the SECV construction of the Kiewa Hydro Electric Scheme.Bakelite small typing machine consisting of numbers with a screen above.'Context' embossed centre front 'Lubrication' with instructions and with Patents on bottom 'Chartres Business Service' at back 'Numbers 1 - 5' at front on knobscontex, adding machine, office equipment -
Flagstaff Hill Maritime Museum and Village
Domestic object - Codd neck bottle, E. Rowlands, 1921
The design of the bottle is called a Codd, sometimes referred to as a marble bottle or "Codd's patent bottle". During the mid-to-late 1800s, there were many inventions to keep the fizz in carbonated drinks such as ginger ale, soda water, and fruit drinks. Hiram Codd, an English engineer invented a successful process that he patented as "Codd's patented globe stopper bottle" in 1872. The Codd-neck bottle (commonly called Codd or marble bottle) is manufactured in two parts. The body of the bottle is cast in two sections. At the time of joining the sections, glass marble and rubber seal are inserted into the neck section. The lip is then applied to the top of the bottle. The Codd bottle is filled upside down as the pressure of the gas from the carbonated liquid holds the marble up and out of the way. When the bottle stands upright the gas pushes the marble up against the washer, creating a firm seal to keep the fizz inside. The bottle is opened by pushing the marble down firmly to allow some of the gas to escape. The marble drops down and is caught in a depression formed in the neck. When the bottle is tilted to pour or drink the liquid the marble rests in a dimple. Two Ballarat miners, Evan Rowland and Robert Lewis started manufacturing mineral and aerated waters, bitters, cordials, and liqueurs in 1854, in a tent on the shores of Lake Wendouree Ballarat. Another 13 firms at that time employed manual operations, whereas they introduced Taylor's No. 1 machine that speeded up the process and laid the foundation for their fortune. Evan Rowland was a pioneer in the aerated water trade in Australia. He was born on August 2, 1826, in North Wales. In 1852, during the gold rush, he emigrated to Melbourne, and in 1854 he went to Ballarat and formed a partnership with Robert Lewis, the firm being called ‘‘Rowlands & Lewis’’. Their next step was to secure a supply of pure water. Using mineral Waters that they found via a natural spring at Warrenheip, Victoria. From the outset, the beverages made from this water gained repute and were in great demand. Their business prospered so well that in 1858 they were able to build a factory at the corner of Sturt and Dawson Streets, Ballarat, and to fit with the most up-to-date machinery then in use. By 1870 their business had increased so much and demand had grown to such an extent that Mr. Rowlands erected another factory, covering over an acre of ground at the corner of Dana and Doveton Streets, costing £13,000. The factory was fitted with the most modern equipment of the time to manufacture cordials and aerated water. In 1873 Rowlands established an agency at 116 Collins St, Melbourne, because the demand for the products of the Melbourne factory became so large. The company expanded to Sydney opening a factory at the corner of Burns & Hay Streets Darling Harbour obtaining spring water to supply this plant from Katoomba in the Blue Mountains. The water was brought to Sydney by rail. In the meantime, the Melbourne concern had progressed so rapidly that in 1888 a magnificent factory embodying all the latest ideas and equipment was built in King Street Melbourne. Robert Lewis was a fellow Welshman born in 1816, and he arrived in Port Phillip in 1853 and became a partner in the early day with Evan Rowland but with lesser and shorter involvement in the firm, from which he retired in 1876. Robert Lewis was perhaps better known as Ballarat's first mayor and a Member of the Legislative Assembly. He was a strong supporter of local charities, president/treasurer of the Eisteddfod Committee, a major force in the development of the Ballarat Hospital, and he was the mayor of Ballarat five times, the first in 1863, (having been a counsellor as early as 1859) and for the last time in 1881. Lewis died in 1884 of a stroke in Ballarat. Rowlands continued in the firm and invented and patented an improved soda water bottle. The water used in Rowlands products was filtered four times but his attempts to use local corks failed on quality grounds. He was a stickler for quality, which was so good that many outside Victoria were prepared to pay the 'premium' imposed by inter-colonial customs duty payable at that time. By the 1890s, Rowlands had factories in Ballarat, Melbourne, Sydney, and Newcastle. He died in 1894 but his company continued until well after the Second World War when it was sold to Schweppes.An early manufacturing process producing the first mineral waters in Australia was invented and developed by an early Welsh migrant to Australia. The Evan Rowlands story gives an insight into the early development of manufacturing industries in Australia that allowed their workers and the towns they were situated in to prosper and develop into what they are today. Bottle; clear glass Codd neck bottle with small marble in top. Once contained soda water or soft drink. Manufactured in 1921 by E. Rowlands of Ballarat, Melbourne, Katoomba and Sydney. The bottle is 'recyclable' - the message on the base says that it remains the property of E. Rowlands Pty Ltd."E. ROWLANDS BALLARAT MELBOURNE KATOOMBA AND SYDNEY". Imprinted into bas "1921" "THIS BOTTLE REMAINS THE PROPERTY OF E. ROWLANDS PTY LTD"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bottle, codd bottle, hiram codd, glass marble bottle, e. rowlands bottle manufacturer, soda bottle australia, early recyclable bottle, codd's patent bottle, marble bottle -
Wodonga & District Historical Society Inc
Functional object - Thornton-Pickard Ruby Enlarger, Thornton-Pickard, c1890
Thornton-Pickard was a British camera manufacturer which was established in 1888 and closed in 1939. The company was based in Altrincham, near Manchester, and was an early pioneer in the development of the camera industry. The Thornton-Pickard company was founded by John Edward Thornton and Edgar Pickard in Manchester,. Also referred to as a Magic Lantern Projector, the Ruby enlarger was used to project images from glass negatives using a variety of light sources and eventually adapted for electricity.. As photography technology developed the size of slides became smaller and the "magic lanterns" were replaced by more compact film and slide projectors.This item is significant as it represents a step in the development of photographic technology and home entertainment in the early 19th century.A large photographic enlarger made primarily of wood, tin plate and glass. The enlarger is fully intact and has the original patent and registration on a badge attached on one side. The enlarger extends when in use but folds up accordion style when not required. Its length at maximum extension is 90 centimetres. It has a slot on one side for glass negatives negatives to be inserted in a wooden holder.Badge attached to side:- 'THORNTON-PACKARD/ RUBY ENLARGER/ ALTRINCHAM" On metal rectangle: "PROTECTED BY / PAT. No. 18478. 08. / REG. No8. 529944 & 580047."thornton-pickard, photographic equipment, ruby enlarger, glass negatives -
Melbourne Tram Museum
Letter - Re conductresses and photo, Melbourne & Metropolitan Tramways Board (MMTB), June 1965
Letter addressed to Mrs B Bartley of Carlton dated 6/6/1965 regarding the possibility of rejoining the Board as a conductress. Details the wages average earnings, and leave etc. Signed by the Secretary W Aird. The photograph shows a lady conductress on a tram step of W2 258, presumably Mrs. Bartley. Not known whether she took up the offer.Has a close association with Mrs Bartley and demonstrates MMTB recruiting at the time of a shortage of staff.Letter on a sheet of quarto MMTB Letterhead with a black and white photograph taped to the bottom right hand corner.tramways, tramcars, conductress, w2 class, tram 258, job offer, mmtb -
Ringwood and District Historical Society
Newspaper, Scrapbook Clipping, Library Collection, Ringwood, Victoria, `
``Newspaper clipping from "The Mail" 8 -6- 94 P1 - Council fear's it's fighting a losing battle by Christine McTigheCroydon Council fears it is one step closer to a merger with Ringwood following the release of the Local Government Board's final report on the boundaries of 21 inner metropolitan councils. Croydon Mayor Cr Les Wilmott favors taking over the urban areas of Lilydale, namely Kilsyth, Mooroolbark and Wonga Park. The council fears that the Board has made up its mind to a merger between Croydon and Ringwood, which the councils don't want.` -
Bendigo Historical Society Inc.
Photograph - HARRY BIGGS COLLECTION: NO. 26 TRAM
Photograph of No. 26 Tram beside the log lock up in Sailors Gully Road, Eaglehawk (Bendigo). The destination board reads Eaglehawk and this is also on a large sign on top of the tram. There is a man with his foot on the boarding step and another three men standing beside the tramorganization, public utility, bendigo tramways., no. 26 tram, eaglehawk