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matching china,
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Ballarat Heritage Services
Photograph - Colour, Vaughan Chinese Cemetery, 2017, 16/07/2017
This site was used as a burial ground from 1855 (about) to 1859. European and Chinese pioneers rest here. The Bendigo Chinese Society Honouring the memory of their Countrymen, fenced the site, 1928. Population of Vaughan 1859, 13000vaughan, vaughan springs, vaughan chinese cemetery, chinese -
Ballarat Heritage Services
Photograph - Colour, Grave at Vaughan Chinese Cemetery, 2017, 16/07/2017
This site was used as a burial ground from 1855 (about) to 1859. European and Chinese pioneers rest here. The Bendigo Chinese Society Honouring the memory of their Countrymen, fenced the site, 1928 Population of Vaughan 1859, 13000vaughan, vaughan springs, vaughan chinese cemetery, chinese -
Ballarat Heritage Services
Photograph - Colour, Grave at Vaughan Chinese Cemetery, 2017, 16/07/2017
This site was used as a burial ground from 1855 (about) to 1859. European and Chinese pioneers rest here. The Bendigo Chinese Society Honouring the memory of their Countrymen, fenced the site, 1928 Population of Vaughan 1859, 13000vaughan, vaughan springs, vaughan chinese cemetery, chinese -
South Gippsland Shire Council
Wall hanging, Landscape on carpet
Wallhanging, Lanscape on carpet featuring a Chinese scene with buildings, trees and boats. Fixed on wooden rod. White fringe and two red satin ribbons fixed to right edge of rod. Chinese writing in gold on ribbons. -
South Gippsland Shire Council
Dolls, Painted, 1990s
Set of two decorated Chinese doll ornaments. Male and female Chinese characters featuring painted ceramic faces with rounded bodies. Dressed in cotton satin clothes and trimmed in coloured fabric and white cord with tassel. -
Glenelg Shire Council Cultural Collection
Functional object - Saucer, n.d
Displayed in History HouseWhite saucer with gold edgingFront: Base: Royal/Standard/Bone China/Englanddecorative item, bone china, saucer -
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 -
Maffra Sugarbeet Museum
Souvenir Plate
A tangible reminder of how important the sugar beet factory and the sugar beet industry was to Maffra, is the production of souvenir-ware with images of the factory. The Sugar Beet industry was highly significant in the Maffra area for just under 50 years, and led to the construction of the Glenmaggie Weir and the consequent Macalister Irrigation District. The item lacks detailed provenance, but is obviously local.Oblong cream and tan souvenir plate with photograph of "Sugar Factory, Maffra" printed in centre. The ends are extended to form handles, each pierced with two holes.Sugar Factory Maffra [crown] / Victoria / China / Czechoslovakiasugarbeet -
Stanley Athenaeum & Public Room
Leisure object - Euchre cards
757 Deer brand playing cards 757 Deer brand Playing cards - Made in China -
Stanley Athenaeum & Public Room
Leisure object - Euchre cards
757 Deer brand playing cards 757 Deer brand Playing cards - Made in China -
Ambulance Victoria Museum
Book, Multilingual guide for emergency care, Circa 2000
created by ambulance officer Lindsay O'Brien to help communicate with non English speaking patientsSpiral bound booklet with Ambulance Service Victoria logo in centreArabic Chinese Greek Italian Russian Turkish Vietnameselindsay o'brien -
School of Health and Biomedical Sciences, RMIT University
Sculpture - Bust, Confucius
Large bronze bust of Confucius sitting on top of a purpose built black painted wood plinth with red painted wood topper. Bronze plaque at front.Confucious (551Bc - 479BC) [Chinese script] (Kong Zi)confucius, chinese medicine, rmit chinese medicine collection -
Linton and District Historical Society Inc
Dish, Opaline - Emblemware, Greetings From Linton
Sold in Sandow's (later Jennings') greengrocer shop prior to WWII.Small white oval dish, with decoration, two Australian Native Bears. Inscribed "Greetings from Linton".On reverse: "Opaline-Emblemware-Designed in Australia-on Czechoslavakian china".souvenirs, australiana -
Friends of Westgarthtown
Lamp, paraffin
Paraffin lamp with clear glass oil reservoir and stand. Oil reservoir is spherical in shape and has a bird pattern embossed while stand has a fluted base with decorative rivets and turns. On top of oil reservoir is a brass wick holder. It seems to be missing the chimney."An Qing China" is imprinted on interior of base along with an "A" in a circle. Chinese characters/letters are also imprinted on base interior and can be translated to the same as the English.lighting, kerosene & oil, light, lamp, paraffin, oil, birds, glass. -
Warrnambool and District Historical Society Inc.
Paint set, Artist's paints, Late 19th century
These items are a collection of paints etc for those artists wanting to produce lustroleum and crystoleum works of art in the late 19th century and early 20th century. These works of art using lustroleum and crystoleum which were mainly metallic paints, were produced on a variety of surfaces, including glass, wood, tapestry, china and ivory. These items have no known provenance but it is known that lustroleum and crystoleum painting were popular pastimes with women in Warrnambool in the late 19th century. There are several records of women advertising classes in lustroleum and crystoleum painting in the 1880s and 90s in Warrnambool. One was these was Annie Newcombe, an art teacher who offered classes at her studio in Timor Street in 1884.This is a metal tin with a metal catch and a hinged lid. The tin contains 10 items - four glass bottles of Lustroleum, one glass bottle of gold paint, one glass bottle of purple metallic paint, one tube of green paint, one china bowl with a lip for pouring, one dish to hold paint with a broken base and one small dish for holding paint. There is also a sheet of paper containing information on the Crystoleum Company of London advertising that they supplied photographs, price list for classes, silk frames and crystal glasses. On bottles: ‘Lustroleum Registered’ ; ‘H. Bessemer, Gold Paint’, ‘Purple’, On tube: ‘Winsor & Newton, Chrome Green, Vert Anglais, London England’ crystoleum and lustroleum painting, warrnambool, paint set, artist's paints -
Seaworks Maritime Museum
Plaque
Wooden plaque with blue shield featuring anchor design, chinese writing at top"HONG KONG MARINE DEPARTMENT" -
Greensborough Historical Society
Cup saucer and plate set, Partington cup, saucer and plate, 1905_
This cup, saucer and plate was part of a set given to Annie May Medhurst on the occasion of her marriage to William James Partington in 1905. Partington and Medhurst families were Greensborough pioneers.China cup, saucer and plate set. White, decorated with small pink flowers.No manufacturer's marks.annie may partington, william james partington -
Glenelg Shire Council Cultural Collection
Souvenir - Souvenir Egg Cup - Portland Harbour, 1934
Centenary souvenir 1834 - 1934, colour image of Portland Harbour. Staffordshire chinasouvenir of portland, portland harbour, domestic item, egg cup -
Glenelg Shire Council Cultural Collection
Souvenir - Souvenir Mug - Whaler's Point, Portland, n.d
Souvenir of Portland. Black and white image, Whaler's Point Portland, Staffordshire china -
Glenelg Shire Council Cultural Collection
Souvenir - China Boomerang - Portland souvenir, Harry Mermott, n.d
Olive green china boomerang shaped souvenir with beach scene and 'Return to Portland'Back: 'Harry Mermott, Australia, etched into base -
Greensborough Historical Society
Plate, Stone Pottery Pahara, Hall dinner plate, 1910c
Dinner plate owned by the parents of Norman Hall, Grimshaw Street Greensborough.Example of fine dinner plate.White china round dinner plate with blue floral decoration and gilt edge. Maker's mark on base: blue crown over "Stone Pottery Pahara"plates, dinner plates, hall family -
Orbost & District Historical Society
plate, Myott, Son & Co
This item is an example of early 20th century Staffordshire pottery.Medium sized plate. Decorated in black and white Chinese floral and house design.Back-Indiana Myott Son & Co Englandplate domestic crockery china myott -
Federation University Historical Collection
Document, Petition - Influx of the Chinese, 1856-7, 1857
Blue foolscap government report relating to the Chinese on the jim Crow (Daylesford) Goldfield.chinese, john ferres, daylesford, jim crow goldfield, petition -
Colac & District Historical Society
china milk jug, "DURALING" Super vitrified Grindley Hotel Ware et al, hygeienic cafe milk jug, Early 20th Century 1920's
The Hygeienic Cafe was conducted by Mrs. H. Bartlett in the late 1930's. It was popular with farmers who patronised it on market days. Many wedding receptions were held in this cafe It was sited near Blane's Newsagency in Murray St.One of very few peices of china from this popular Colac cafe remaining in existance. Cafe closed during WW2This milk jug is made of vitrified English china. Colour- White with blue markings.Elaborate H/B with banner and name beneath lined rim and handle.No 357 (Society No.) and makers markings on base.hygeienic cafe china milk jug -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Water Bottle
Aluminium with webbing, Chinese (captured from Viet Cong at Bien Wha 1967)equipment, vietnam, general -
Bendigo Historical Society Inc.
Negative - BENDIGO CHINESE TEA HOUSE
Construction of Chinese Tea House, Nolan Street, Bendigo. Beside Lake Weeroonabuildings, commercial, tea house -
Bendigo Historical Society Inc.
Negative - BENDIGO CHINESE TEA HOUSE
Construction of Chinese Tea House, Nolan Street, Bendigo. Beside Lake Weeroona.buildings, commercial, tea house -
Bendigo Historical Society Inc.
Negative - BENDIGO CHINESE TEA HOUSE
Construction of the Chinese Tea House, Nolan Street, Bendigo. Beside Lake Weeroona.buildings, commercial, tea house -
Bendigo Historical Society Inc.
Negative - BENDIGO CHINESE TEA HOUSE
Construction of the Chinese Tea House, Nolan Stret, Bendigo. Beside Lake Weeroona.buildings, commercial, tea house -
Bendigo Historical Society Inc.
Negative - BENDIGO CHINESE TEA HOUSE
Construction of the Chinese Tea House, Nolan Street, Bendigo. Beside Lake Weeroona.buildings, commercial, tea house