Given its size, this keg was used either for beer, or a soft drink.Ceramics have evolved over thousands of years.Tan coloured ceramic cask with light and dark brown rings as decoration.There is a hole at the top and one near the base on the side that takes a wooden bung.H 46 (symbol) 113flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, keg, ceramic, liquid

Washing wringer (or mangle) marked "EXTRA HIGH GRADE WARRANTED" and "102" and " - - -ROLLS 12 - - -" Has orange coloured rollers. Clamps on swivel to clamp onto trough. Adjustable pressure clamps on top. Trade Mark of Horse Shoe with "AWCo" inside it . Instructions stamped on wooden slope "THIS WRINGER HAS WARRANTED RUBBER / ROLLS / VULCANISED TO THE SHAFTS / PUT - - - THE BEARINGS / BEFORE USING LARD LOOSEN TOP SCREWS / WHEN THE WRINGER IS NOT IN USE" and "HORSE-SHOE COMBINATION TUB CLAMPS / WILL HOLD WRINGER - - - TO GALVANISED IRON, FIBRE OR WOOD TUBS" . flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wringer, mangle, laundry, domestic, cleaning, washing wringer, clothes wringer

The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history.A small brass cow bell, in poor condition. It is blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. A handwritten label is attached to the bel. Recovered from the wreck of the Loch Ard.Label text "["10/6/73, Brass Cow Bell, LOCH ARD, Found in the sandy hole in the centre of the wreck site. Cow bells were part of the cargo" - "10/6/73, LOCH ARD, small brass cow bell salvaged by FHMV divers"]. "LOCH ARD / PETER RONALD"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers

Research is still being carried out regarding the inscription on this bell. Perhaps it was used for horses during the war. It may have been a souvenir or perhaps just a political statement, similar to 'Buy Australian'. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Cow bell, brass, topless pyramid shape, inverted "U" shaped pin attached. Pin and clapper are iron. Bell is embossed on sides. Embossed "ADVANCE / VICTORIA" and "WWI"flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell, advance australia, wwi

The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is a scoop or large bowl at one end for the material to be weighted and a flat platform at the other end that holds the weights. Around the cast iron base is an embossed strip weight and bowl missing.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Before the invention of woven baskets, people used tree bark to make simple containers. These containers could be used to transport gathered food and other items but crumbled after only a few uses. Weaving strips of bark or other plant material to support the bark containers would be the next step, followed by entirely woven baskets. The last innovation appears to be baskets so tightly woven that they could hold water. Depending on soil conditions, baskets may or may not be preserved in the archaeological record. Sites in the Middle East show that weaving techniques were used to make mats and possibly also baskets, circa 8000 BCE. Twined baskets date back to 7000 in Oasisamerica. Baskets made with interwoven techniques were common at 3000 BCE. Baskets were originally designed as multi-purpose vessels to carry and store materials and to keep stray items about the home. The plant life available in a region affects the choice of material, which in turn influences the weaving technique. Rattan and other members of the Arecaceae or palm tree family, the thin grasses of temperate regions, and broad-leaved tropical bromeliads each require a different method of twisting and braiding to be made into a basket. The practice of basket making has evolved into an art. Artistic freedom allows basket makers with a wide choice of colours, materials, sizes, patterns, and details.Before the advent of plastics (1907), the is now used for many different types and styles of storage container rattan, wicker or cane was used to make containers with a lid for the storage of linens etc. The subject item was probability used at the end of the Victorian era and into the Edwardian period around the 1900s as a household storage facility. These types of wicker or cane containers started to go out of fashion due to their fragility around the 1920s into the 1940s due as well to the introduction of synthetic materials. Wicker cane rectangular shaped domestic storage container with reinforced leather pads on 4 corner sides. lid fits inside the other. Black cane piece around top edge.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The razor was made between 1883 and 1933 by Joseph Allen & Sons of Sheffield, England. It is a form of shaving equipment used for many years, and still by some today. The shaver would prepare for shaving by lathering the skin and hair with soap and a purpose-made bristle brush before carefully stretching the skin and running the razor over it. The razor's blade would be sharpened with a 'strop' strap. JOSEPH ALLEN (C. 1829-1893) Joseph Allen was born in Dromfield, in the Sheffield district of England in around 1829. He was trained as a razor smith and razor back forger. His business grew and he moved to several addresses. By 1883 his firm was named Joseph Allen & Sons and was exporting his products overseas. In 1883 he paid to use the 'NON-XLL' mark to stamp on his metal products. Joseph's tow sons, Joseph and James, were managing his business by 1900, operating at Ecclesall Works, 245 Rockingham Street in Sheffield. They expanded the range of products to include cutlery as well as razors and bought the use of other trademarks. In 1919 it became a Limited company, trading until 1933. This vintage razor represents men's grooming equipment in use over many decades, and even today. The maker is well-known for its quality workmanship and materials.Razor, metal blade with synthetic handle. Blade has steel handle. Razor is contained in black cardboard box. Made by Joseph Allen & Sons of Sheffield, England. On blade "NON - XXL" "Joseph Allen & Sons, Sheffield, England"flagstaff hill, warrnambool, shipwreck-coast, shipwreck coast, flagstaff hill maritime museum & village, maritime museum, joseph allen & sons, sheffield, raxor, shaving equipment, personal grooming, men's toiletries, shaving aid, ecclesall works, non-xll, vintage razor

Candle stick holders were used to hold and display candles for light. They were used before commonly in domestic situations before lighting from kerosene, gas and electricity was freely available and affordable.This is an example of lighting used commonly before the late 19th century.Candle stick holder enamel grey speckled with dish base, side handle and fixture for holding candle.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, domestic lighting, candle, candlestick, candle holder, light

This beautifully made ship model is a side relief of the steam ship “S.S. Nelson”, which was launched in 1877. The model’s case stands out because of its ornately carved internal frame. Relief models of ships, sometimes called half models, were often built by the shipbuilders as an exact scale model of the finished ship. The shipbuilders would use the model to ensure that the design was balanced. They would use the model as a point of reference during building. Also, ship models were used to demonstrate the designs to prospective buyers. It is not known whether this model of the “S.S. Nelson” was made for these purposes. HISTORY of the “S.S. Nelson” During the period 1840-1890 shipping was the cheapest and most practical means of carrying produce and goods to and from coastal towns such as Warrnambool. In the 1850s regular domestic steamer services began and by 1870 the passenger trade was booming. Passengers were taken to the ship’s side in small boats called lighters, which took it to ships at anchorage in Lady Bay, then climbed aboard up ladders or gangways. Their fare covered accommodation Saloon/Cabin section (higher class and more expensive) or the Steerage section (lower class and less expensive, below deck level). Produce included livestock such as pigs and fowls, and dairy products, bales of wool, and potatoes. The goods were loaded from the Warrnambool Jetty into the lighters. The S.S. Nelson was built by Messrs Blackwood and Gordon of Port Glasgow for a cost £25,000 in 1877. She was an iron screw steamer with an overall length of 200 feet, beam 25.5 feet and a depth of hold of 19.4 feet, which gave her a gross measurement of 649 tons. Her engines gave her a best speed of 13 knots and a maintainable speed of 12 knots. She was described as a handsome, star decked, efficient steamship, fitted with accommodating for 75 first class passengers in a saloon, and 40 second class passengers in a cabin. The S.S. Nelson arrived in the colony of Victoria on March 9th, 1877. She was first registered in Warrnambool by the Warrnambool Steam Packet Company under the management of Mr William Evans, and employed in the coastal trade of south west Victoria. She was very popular in 1878, registered under the new ownership of the Western Steamship Navigation Company, trading between Melbourne, Warrnambool and Portland. Captained John Nicholson commanded the S.S. Nelson after the previous captain, Thomas Smith, was suspended in 1882 for six months by the Victorian Steam Navigation Board following the collision between the S.S. Nelson and the S.S. Julia Percy. Other Captains include S Drewet and John Thompson. The S.S. Nelson was sold to Messrs. Huddart, Parker and Co. and re-registered in Melbourne on June 23rd, 1890. The new owners intended to use her for their Bass Strait crossing between Melbourne, Victoria and Launceston, Tasmania. On the night of Friday, June 27th 1890, under the command of Captain Carrington, she was on her way to Launceston on her first crossing for her new owners. She had no passengers and very little cargo and was to return to Melbourne with passengers the following morning. She was only 21 hours out of the dock when she struck Porpoise Rock in the Tamar River. All crew of 25 were saved but the bulkheads gave way and she rapidly filled before keeling over and disappearing in approximately 130 feet of water. The new owners had fully insured the almost 14-year-old S.S. Nelson with the Australian Alliance Insurance Company and she had only been in their possession for four days. This ship model of the S.S. Nelson is significant for its connection with the steam screw ship S.S. Nelson, one of a fleet of vessels owned by the Warrnambool Steam Packet Company. The S.S. Nelson was specifically built and purchased for the Victorian coastal trade business of the late 19th century, when shipping was the cheapest and most practical means of transporting goods and passengers between Victoria’s coastal towns and the major port at Melbourne. Once the railway came to Warrnambool in 1889, the steam shipping industry began to decline.Ship model; relief of the S.S. Nelson, showing deck superstructure, ventilators and single funnel. Ship's name is painted on the bow "NELSON". Wood model, varnished finish over natural wood and black painted areas. Timber case with ornate edging and glass front and sides."NELSON" painted on bowflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, s.s. nelson steam ship 1877, screw steamer, 1877 vessel, ship model s.s. nelson, blackwood and gordon port glasgow, warrnambool steam packet company, western steam navigation company, south west coast trader, sea transport melbourne to portland, victorian steam navigation board, s.s. julia percey, captain john nicholson, captain thomas smith, captain s drewet, captain john thompson, captain carrington, huddart, parker and co, bass strait crossing 1890, sea transport melbourne to launceston, porpoise rock tamar river, australian alliance insurance company, ship model making, vessels, victorian coastal trader

This rail holder is one of a pair of two. The opening in the sphere holds one end of a rail and the screw holes allow the holder to be attached to a flat surface such as a wall or shelf. Pail holders can be found in homes, marine vessels, offices, hotels and many other locations. They are used with a fitted rail for hanging towels, coat hangers in cupboards and wardrobes and curtains over windows. They can also be used for the ends of handrails and shelf rails.This rail holder represents the the type of fittings used on ships in the 19th century. Similar fittings are still used today in the 21st century.Rail holder; one of two brass rail fittings. Hollow sphere on top of a pedestal that has a round base with three holes in it. The sphere has an opening on one side.flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, rail holder, rail fitting, brass ware, domestic item, bathroom furnishing, ball rail fitting, single outlet rail holder

Kempthorne Lighting Pty. was established as Coffey Lanterns in East Malvern, Melbourne Victoria in 1931 by brothers Selwyn and Owen Coffey. They manufactured lighting fixtures and fittings including oil lamps for marine use as well as for the domestic market. In early 1936 two other brothers, Erle and Terence had joined the company which was renamed Kempthorne Lantern Works Pty., Ltd. In 1946 Kempthorne joined with a small design team who had developed a domestic fan to form the subsidiary, Mistral fans. The company previously known as Kempthorne Holding Ltd was listed on the stock exchange in 1968. In 1977-1979 Kempthorne Mistral Ltd. Was a holding company comprising of Kempthorne Lighting Pty., Ltd. & Mistral Fans Pty., Ltd. An early Australian made marine lamp by a significant manufacturer that is still in business today making electrical equipment. The item is an important artefact that was made by an early Australian business that started in the 1930s. Over the years this company has demonstrated many innovations to the manufacturer of electrical items. Marine copper Lamp, round with brass makers lozenge and rounded hollow lugs set on either side of the lamp. Heavy metal handle with brass locking pin. Lid with catch on top. Made by Kempthorne Pty Ltd Melb. 1941flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lamp, copper ship lamp, ship lamp, kempthorne pty ltd

The Edison Fireside Phonograph Combination Type A model phonograph was an open horn model. This machine was produced around 1909, just after the introduction of 4-minute record cylinders in 1908.; the selection lever on the front was either 4 or 2-minute choice. This Fireside model has a fluted octagonal horn that attaches to the reproducer on the machine and is suspended by on ring by a horn crane attachment. The phonograph machine is powered purely by mechanical means, winding the crank handle on the side of the machine to start the belt-driven, spring-loaded motor inside. The sound comes from a pre-recorded, vertical cut record cylinder, which slides over the Mandle, a smooth rotating drum. The reproducer, an all-in-one needle, amplifier and speaker, is lowered onto the cylinder, the needle picks up the sound and plays it on the speaker and the attached horn amplifies the sound. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adopted the idea from the technology of the telegraph machine. He patented the phonograph in early 1878. It was able to record sound and play it back. This amazing invention opened up a whole new world of entertainment, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He then started the Edison Spring Motor factory in 1895, and the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external open horn was produced in 1912 due to the much more robust round records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929.This Edison Fireside Phonograph model is significant for being one of the last models to have an external horn. It is also significant for its connection with the invention of the phonograph, which made music and sound available for domestic enjoyment. It was used for entertainment and education, even teaching languages. It signalled a new era of music that could be reproduced and played anywhere. It is also significant for its short time span of popularity, just a few decades, due to the growing use of records, which gave a much higher quality sound and were more robust.Phonograph; Edison Fireside Phonograph, Combination Type, Model A. It is in a wooden case with a domed lid, metal catches on each side and a folding wooden handle. It has a metal drum and a reproducer mechanism. The metal and wood crank handle starts the machine’s motor. A sliding lever at the front selects the speed for four- or two-minute cylinders. The inscribed plate has the maker, serial number, patents and other information. The reproducer also has an inscription. It has a curved metal open horn attachment. Made in Orange, New Jersey in c.1909. NOTE: the fluted octagonal horn is catalogued separately.Case front, in script, Edison’s early ‘banner’ decal “Edison” On the front of the machine “Thomas A Edison TRADE MARK” On the maker’s plate; "Edison Fireside Phonograph Combination Type" Serial number “14718” Around sound outlet; “C 4076” “REPRODUCER LICENCED FOR USE ONLY ON EDISON PHOTOGRAPHS SOLD BYT.A. EDISON INC.” At the front edge “4 MINUTES 2flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, phonograph cylinder, external horn, edison phonograph company, wax cylinders, sound reproduction, edison spring motor factory, national phonograph company, thomas a. edison inc, crank-operated motor, open horn phonograph, 4 speed, 2 speed

A bell of this size could have many could be used in many locations such as in a domestic setting, a retail business, a school or other workplace in in a small vessel.This bell is an example of bells used over the centuries to sound an alarm, mark time or call to order.Bell; small brass bell with a hole through a link set into the top, and two grooves around circumference. The surface has been varnished. The bell has an attached iron clapper with a plaited and knotted rope handle painted white.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bell, brass bell

This fine white unglazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Fine unglazed white porcelain ornament, carved to represent a boy holding a basket on his back. One of a pair, the other being a girl holding a basket on her back. The hollow basket is a vase. It was made in Germany. No 0847. Marked "0847" "GERMANY GASP"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, germany, boy with basket, vase

This fine white unglazed porcelain figurine is one of six donated together, and one of a pair of two children carrying baskets on thei. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Fine unglazed white porcelain ornament, carved to represent a girl holding a basket on her back. One of a pair, the other being a boy holding a basket on his back. The hollow basket is a vase. It was made in Germany. "1084" "105" "GERMANY"flagstaff hill, warrnambool, maritime museum, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, germany, girl with basket, vase

This fine white unglazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was most likely made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Ornament, fine unglazed white porcelain, carved to represent a woman standing in front of a green vase. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, vase, woman with vase, germany

This fine white unglazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was likely made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Figurine; unglazed white porcelain ornament, hollow inside. It is carved to represent an angel with two children, a boy and a girl. The surface is decorated with tiny gold balls and the angel wears a gold tiara. There are remnants of gold, orange, green and brown paint. No 1914. "1914"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, figurine, angel figurine, germany, angel with children

This fine white unglazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was likely made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Fine unglazed white porcelain ornament, hollow inside. It is carved to represent a peasant girl and goat with a vase shaped like a tree stump in the background. The ornament has remnants of gold, red, brown and green paint. There is an inscription on the base."3943:warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, ornament, flagstaff hill, flagstaff hill maritime museum and village, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, germany, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, girl and goat, vase

This fine white glazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was likely made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Fine glazed white porcelain ornament, carved to represent three children sitting on three brick fence pillars. There are gold highlights on the surface. The hats on the children are vases. An inscription is on the base of the centre pillar."6946"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, germany, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, children on a fence, vase, candle holder

Item used in the late Victorian to early Edwardian period as an insert into a house fireplace allowing the burning of coal or wood as fuel to heat a home.An item that is significant as it gives an insight into daily domestic life in the home regards heating.Fire box insert & tray black metal Embossed design to casting at back of box flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Angus & Co. was a large ink, gum, and paste manufacturing company established in Melbourne in 1896 by Joseph Armstrong Angus (1860-1936.) The company's premises included a bottle works to supply bottles for its many products. The company supplied various inks, gums, and paste too many business and domestic customers. Mucilage is a thick, gluey substance produced by nearly all plants and some microorganisms. These micro-organisms include protists who use it for their locomotion. The direction of their movement is always opposite to that of the secretion of mucilage. It is a polar glycoprotein and an exopolysaccharide. The mucilage in plants plays a role in the storage of water and food, seed germination, and thickening membranes. Cacti (and other succulents) and flax seeds are especially rich sources of mucilage. Mucilage is edible. It is used in medicine as it relieves irritation of mucous membranes by forming a protective film. It is known to act as a soluble, or viscous, dietary fiber that thickens the faecal mass, an example being the consumption of fiber supplements containing Psyllium seed husks. Traditionally, marshmallows were made from the extract of the mucilaginous root of the marshmallow plant (Althaea Officinalis). The inner bark of the slippery elm (Ulmus rubra), a North American tree species, has long been used as a demulcent and cough medicine and is still produced commercially for that purpose. Mucilage mixed with water has been used as a glue, especially for bonding paper items such as labels, postage stamps, and envelope flaps. Differing types and varying strengths of mucilage can also be used for other adhesive applications, including gluing labels to metal cans, wood to china, and leather to pasteboard. An early item from the late 1920s for office use as a glue by a well-known Melbourne manufacturer of office supplies of inks, glues, rubber stamps, and mucilage gums, etc.Bottle of Mucilage. Manufactured by Angus & Co Ltd Aust. Contents 20 Ozflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Enamel cookware became very popular because people wanted a way of coating iron to stop metallic tastes or rust getting into food: something acid-resistant and easy to clean without laborious scouring, something more durable than the tin linings used inside copper. Enamelware dates back to 1760 in GermanyThis object is significant as an example of an item in common use in the 19th and early 20th centuries.Large light blue enamel bowl.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enamel, kitchenware, washing

The use of cookie cutters dates back to at least Roman times, as some were found in the ruins of Pompeii. They were buried by the eruption of Mount Vesuvius in 79 AD.Cookie cutters have been used to create attractive shaped biscuits and cakes for many years.Set of five metal cookie cutters.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cookies, cutters, biscuits, cakes

This foot-powered treadle machine could be used to manually operate many devices such as a sewing machine or spinning wheel. Treadle machines were used to power sewing machines, dental drills, lathes, spinning wheels and saws The machine is mounted on a board to demonstrate treadle operation.This mounted, smoothly working treadle machine demonstrates the treadle mechanism that was used in the early 20th century to power mechanical devices and in turn to save time, energy and money. The treadle was used in domestic and industrial environments. The Collection at Flagstaff Hill Maritime Museum and Village has two treadle-operated dentist's drills, a treadle sewing machine, a saw, a lathe and a treadle paper numbering machine.Treadle-powered machine; a black painted metal wheel with four curved spokes, connected to a wooden treadle. The height of the wheel is adjustable. The mechanical device is mounted on a thick rectangular wooden block. The working treadle mechanism turns smoothly. flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, treadle machine, manual machine, foot treadle, display treadle, treadle, demonstration, education, working model

The timber display case was presented to Mr Richard Standcombe Harris of Warrnambool (1831-1923). He was a councillor (1875-1891) and predominant businessman. Mr C F Loggin had met Mr Harris while on a trip to Stratford upon Avon in the United Kingdom. Upon his return to Warrnambool, Mr Harris donated the item to the Warrnambool Museum and Art Gallery, (established 1886) where Joseph Archibald was Curator: he catalogued the case in 1894. THE LETTERS IN THE CASE The two letters contained within the display case confirm the authenticity of the oak wood sample. The first letter in the case includes the text; "[Stamped Header on banner] High Street, Stratford on Avon [Hand written] Sept. 22nd / 91. Mr. R. S. Harris, Dear Sir, Enclosed you will find [underlined next 3 words] every authentic proof of the Oak from Shakespeare's House (Birth place). I regret very much Sir, that you made a short-day at S. on A. I should have been delighted to have had the honour, & pleasure, of showing you around our Beautiful Country. You did not give [next 3 words underlined] me or yourself a fair chance. But however I hope that we may again some day have more time to go quietly around. With kind regards, and wishing you, Sir, a pleasant voyage, I remain, Dear Sir, Yours very truly, C.F. Loggin. P.S. A paper will be always acceptable to be as how you Jolly Warrnamboolites are desporting yourselves. “ The second letter includes text; “[Printed Letterhead with stamped impression] The Trustees and Guardians of Shakespeare’s Birthplace Incorporated by Act of 54 and 55, Vict. 1891 Secretary and Librarian - Richard Savage Shakespeare’s Birthplace Stratford-upon-Avon [handwritten] 22 Sept 1891 This piece of oak is a portion of what was cut away at at the restoration of Shakespeare’s Birthplace in 1857-58. C. F. Loggins Chemist 3 High Street Richard Savage Sec. – Shakespeare’s Birthplace Mr C F Loggin was connected with the Shakespeare Trust as the person who had originally donated a scion of Shakespeare's mulberry tree to the "Shakespearean Birthday Committee" in 1842. (The scion that was given to the Shakespearean Birthday Committee, from which the Mulberry sample is derived, still grows today in "New Place" garden.) Mr Richard Savage was the Secretary and Liberian of the then renamed “Trustees and Guardians of Shakespeare’s Birthplace when the display case was given to Mr Harris in 1891 by Mr Loggin. WILLIAM SHAKESPEARE Shakespeare was born in 1564 in Stratford-upon-Avon, where he also grew up. He married at 18 years and he and his wife, Anne Hathaway, had three children: They moved to London where he became successful as an actor, writer, and part-owner of a playing company. He later returned to Stratford and purchased his last home, which he called "New Place" in 1602 where he later died in 1616. For the next 150 years, it was known that there existed a black mulberry tree in the garden. At the time there was a fashion for planting mulberry trees. It was the early 17th century after King James had come to the throne, and he imported tens of thousands of saplings in an attempt to get landowners to start a silk industry in England. Unfortunately for posterity, Shakespeare's mulberry was felled around 1756, by the then owner of “New Place" the Reverend Francis Gastrell, who was apparently tired of continual visits by pilgrims asking to see the tree, so he chopped it down. Gastrell had applied for local permission to extend the garden but the application was rejected and his tax was increased. Gastrell retaliated by demolishing the house in 1759, this greatly outraged the local inhabitants. Gastrell was eventually forced to leave town having provoked the wrath of Stratford residents for committing such an act. Today only the garden remains where “New House" used to stand with a scion from the original mulberry tree still growing there. The wood from the felled mulberry tree at “New House" was purchased by an enterprising local clock-maker Thomas Sharp and he spent the next 40 years or so years making souvenirs from the wood. These became early tourist souvenirs and subsequently developed into a profitable sideline for various other makers, including George Cooper and John Marshall. These objects range from relatively small domestic wooden objects, such as snuff boxes and weight scales to large tea caddies and even tables. C. F. Loggin donated a scion or cutting from Shakespeare's mulberry tree to the Shakespeare Birthplace Trust in 1862, he was a chemist who lived and worked in Stratford. There is a note on the frame of the donation that the mulberry sample is from this scion, research shows that from Richard Savage's diary notes that there must have been a lot of wood taken from that scion over the years which was planted in the garden of “New Place” and is still growing there today. The "Trustees and Guardians of Shakespeare’s Birthplace" (1847 -1964) was formed after the house where Shakespeare is believed to have been born fell into disrepair. Subsequently in 1846 after the death of Thomas Court's widow the last owner. Interest in the house was revived when PT Barnum, the American showman, wanted to buy it and ship the house back to America. In response to this, the Shakespeare Birthday Committee was established (by a private Act of Parliament) with the help of such luminaries as Charles Dickens, the Committee of Trustees raised the necessary £3,000 and purchased the house the following year. Once the Committee had acquired the building, restoration work began. Originally the Birthplace formed part of a terrace with later houses built either side. The first stage in its conservation was their destruction. At the time it was thought necessary to avoid the risk of fire spreading to Shakespeare's birthplace. Reconstruction was carried out by the Shakespeare Trust between 1857 and 1864 that restored the outside of the building to its original 16th-century state. It is from this restoration that the donated piece of oak is derived, originally from a beam that was in the house. Communication from The Shakespeare Birthplace Trust, dated April 11th, 2019, confirms that the pieces displayed in this case have good provenance. The wood samples are significant for their association with the history of William Shakespeare. The display case and its content is significant to Warrnambool local history for its association with the establishment in 1886 of the Warrnambool Museum and Art Gallery. However, it should be noted that the letters of authentication that accompany the wood samples are only applicable to the oak sample. None the less, all the pieces have very good provenance, with Richard Savage's certificate of authenticity for the oak, and the mulberry sample with the letter to Mr Harris from Mr CF Loggin having also been the donor of the scion of mulberry in 1862 to the Shakespeare Birthplace Trust. This scion was then established at Shakespeare's garden at "New Home" that had been demolished by Rev Francis Gastrell in 1759. Two wood samples associated with William Shakespeare, presented in a hanging, timber and glass display case with metal trim around the frame. The case also contains two letters and a label printed on a card that refers to the contents, their origins and the donor. A card label with a printed number and a round adhesive label are attached on the back of the case. The left round section of wood is from a donated scion (or shoot) derived from the original mulberry tree planted by William Shakespeare at his last home "New Place", Stratford-upon-Avon. The outer section is light brown coloured while the centre is dark grain. The right wood sample in the case is a section of oak rafter from the house where Shakespeare was born in 1564. The wood is mid brown with a distinct grain. The included letters, each dated 22/9/1891, refer to only the oak sample. - The letter on the left comprises two handwritten pages from Mr CF Loggin to Mr Richard Standcombe Harris. The paper has the printed letterhead address of High Street, Stratford on Avon. - The letter on the right is a handwritten certificate of authenticity signed by Mr CF Loggin and counter signed by Mr Richard Savage, Secretary and Liberian of the Shakespeare Trust. It is on the printed letterhead of The Trustees and Guardians of Shakespeare’s Birthplace Cardboard label inside the glass case “Shakespeare Section of Mulberry Tree, traditionally said to have been planted by Shakespeare in his garden, “New Place,” Stratford-on-Avon. PORTION OF OAK RAFTER from the house in which Shakespeare was born. (Presented by R S Harris 1891.) Printed label on the back of the case “3 2 “ The handwritten adhesive label “0566” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shakespeare display case, wood samples, oak from shakespeare's birthplace, mulberry from shakespeare's home "new place", stratford-upon-avon, shakespeare's birthplace, the trustees and guardians of shakespeare's birthplace &c., shakespeare trust, shakespeare birthday committee, r.s. harris, brunswick, victoria, richard s harris, brunswick, victoria, c.f. loggins, chemist, 3 high street stratford-on-avon, richard savage, warrnambool museum and art gallery, thomas court, pt barnum, charles dickins, anne hathaway, black mulberry tree, reverend francis gastrell

Modern iron cooking ‘ranges’ were being introduced from the late 18th century, however a vast number of people cooked in open fireplaces, well into the 1800s. Generally they were fitted with iron rods suspended above the fire or ‘cranes’ that could be swung in and out for easier and safer access to the pots that hung from them. These cooking systems may seem rudimentary, but a skilled cook knew how to manage pots, pans, cauldrons and pokers and expose them to the right type of heat by positioning them in various parts of the fireplace. They were also very versatile, enabling multiple cooking techniques – boiling, stewing, frying, roasting, toasting – all at the same time, using different types of vessels and utensils. https://blogs.sydneylivingmuseums.com.au/cook/hearth-fire-cookery/This type of item was used extensively over the centuries over open fires. It is still used in camping.Metal cooking pot with handle designed to hang the pot over an open fire.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchenware, cooking, open hearth cookery

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

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

Clothes brushes were a common household item, used particularly for removing lint and fluff woven fabrics. This clothes brush is an example of personal items used for grooming and care of clothes in the earlier part of the 20th century. Items of similar design are still used in modern times.Clothes brush, handle and back are one piece, made of dark brown-coloured ebony. the brush has with yellow bristles. Inscription on handle. Rounded tip of brush has indented white circles. Inscription on brush handle.Embossed "REAL EBONY"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, brush, clothes brush, grooming, personal item, ebony, real ebony

Crochet came from the Old French word crochet, meaning ‘small hook.’ This word comes from Croche. Croche comes from the Germanic word croc. Both mean hook and crochetage, which means a single stitch used to join separate pieces of lace together. People used this term in making French lace in the 1600s and the word crochet describes the hook and the craft. Evidence shows the starting point was the mid-1800s but as early as the late 16th and early 17th century, crocheted braiding was used in clothing and other products. Like on a man’s cape at the Victoria and Albert Museum. Crochet evolved in the early 1700s when stitching material on a tambourine reached Europe after going through India, Persia, North America, Turkey, North Africa and other places around the world. People removed the background fabric used for tambouring. The French named the new technique “crochet in the air.” In the early 1800s, shepherd’s knitting came about, along with the shepherd’s hook. It’s thicker than a modern crochet hook but still with a hooked end. By the mid-1800s, it became known as crochet or slip stitch crochet. In the 60s, the granny square and crocheted home ware appeared and became more popular.A significant domestic item used in crochet or craft work and recovered from the wreck of the Schomberg in the 1970s. For more information regard the wrecking of the Schomberg see note sect this document. The Schomberg has historical significance as one of the first luxurious ships built to bring emigrants to Australia. The collection of recovered artefacts from the Schomberg wreck and held at Flagstaff Hill Museum are significant because of their potential to interpret the story of the Schomberg and its passengers.Crochet hook made from Bovine Bone. It has two sections that screw apart. Recovered from the wreck of the Schomberg. Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, crochet hook, crocheterage, craft