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.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

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

Francis Box was born in Withyham, Sussex and came to Australia with his parents George and Mary Box and siblings in 1856. He was assigned to work in Beaufort and had various jobs including ‘gold miner’ at Heathcoat where he married Eliza Jane Thompson. Francis decided to return to market gardening after the death of his 1st child Francis George Box in 1875 aged 13months. The child was buried in Brighton Cemetery and Francis then rent/leased the land on the corner of Tucker Road and Elizabeth Street East Brighton ( now Bentleigh) owned by his brother Henry who with another brother John helped Francis clear the land, and establish a market garden. They had 4 children and began to prosper until in 1882 their 2year old child Lena Caroline Box was killed in a fire that destroyed their house. Francis was burned trying to rescue the child. The local community raised money to assist the family. The land boom brought prosperity again and Francis bought more land around Tucker Road which was bequeathed to his children. Francis and Eliza Jane had four more children but one died in infancy and another aged 2 years. Only 5 of their 9 children survived. Two boys William Henry George Box 1876 -1957, Charles Francis Box 1882 – 1947. Three girls Mable (May) Alma Box 1878 – 1969, Jessie Melinda Box 1888 – 1975, Edith ( Eadie ) Florence Box 1890 - 1976 .Francis who died 1912 and Eliza Jane, who died in 1922, are also buried in Brighton Cemetery Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who with his wife Elizabeth Avis Box and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 . Francis Box, a brother of William Box, was born in Withyham, Sussex and came to Australia with his parents George and Mary Box and siblings in 1856. Francis and his wife Eliza Jane Thompson Box had 9 children but only 5 survived. They established market gardens in Tucker Road Bentleigh. Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of Eliza Jane Box( sitting) and 3 three daughters, May ( sitting) and standing Eadie (L) and Jessie (R) probably taken after the death of Francis Box in 1912 because they are all dressed in black mourning dresses.nil but similar to the other photographs in the collection

Diggers & Mining. Life Of The Selectors. Two men in a row boat, sign read 50 feet summer level. Title; Water, Everywhere. Free Selector.- Dear me allotment as being a little liable to inundation, but this is rather too moist. Waterman.- ''Never you mind sir there is fine fishing all year round, and wild duck in shooting season. It's worth all the money you paid.'' Markings; Diggers & Mining. Life Of The Selectors 1860-1890. Set 432 No. 18. Water, Water, Everywhere- ''Melbourne Punch,'' Sept. 26, 1872. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

Happy New Year Greeting Card: Rectangular shaped embossed card with green Ivy around the outer edge and scattered in the middle with Blue Forget Me Not flower and lace band diagonally across the middle. At one end the card is held with a cream cotton cord and bow. All Good Wishes is printed on the front. Inside printed in gold is 'With Heartiest Good Wishes for a Right Happy New Year''. Hand written in ink in the centre is To: Em & Mat with love & Best Wishes. From: Bess & Em. Box 625ephemera, mementoes, celebrations, happy new year greeting card.

Book. ALEC H CHISHOLM COLLECTION. 293 page hardcover book of 12 stories of Sherlock Holmes by Arthur Conan Doyle. Published in 1920 by John Murray, London and printed by Wyman & Sons Ltd, London and Reading. Catalogue sticker ''2147 DOY'' on spine. Handwritten in ink on the title page ''With all pleasant remembrances of Brisbane - in spite of the mosquitos (one or two of which were human) A. Conan Doyle'' Also handwritten in ink inside front cover ''This book (now rebound) was given to me by its author - Sir A.Conan Doyle - in Brisbane in Jan.1921. The reference to human 'mosquitos' on the title page is prompted by the fact that some of the interjectors or questioners at Doyle's spiritualistic lectures were inclined to be scurrilous. A.H.Chisholm''Arthur Conan Doylebooks, collections, short stories, alec h chisholm collection, arthur conan doyle, sherlock holmes

Black & White photo in postcard format. 3/4 length male aged early twenties. H J Howship Benalla impressed on bottom right hand front corner. Dark suit and vest, Albert chain and fob. Reverse captions. Addressed to" Miss T Dowsey, 100 Rowan Street Bendigo". Dear sister and brother I am sending you a postcard I suppose you know who it is , hoping to find you all well as per last letter and let me know if you receive this foto alright, from your loving brother, H Harding Somerton 86 10 stone 5 lbs.H J Howse, Benallapostcard, photograph, male, dowsey research.

a & b/ Grand Variety Concert, Kiwanis Club of Bendigo. J B Osborne Theatre, Kangaroo Flat, Bendigo. 7.30pm Saturday, 4th September 1993. What Is A Kiwanian? A Kiwanian is a person of good character who adheres to the standards of good conduct in the community and believes . .. Kiwanis Club of Bendigo All the performers in tonight's program have given. .. The Kiwanis Story Kiwanis was founded in Detroit, Michigan, USA. January 21, 1915. The name 'Kiwanis' is taken from an Indian term 'Nun Kiwanis', which roughly means 'Self Expression'. .. Acknowledgements: Official Accompanist - Leila Watson, Stage Manager - Rod Symes, Sound System - Bendigo Audio Productions, Ticket Sales - Collins Booksellers, News Media - Bendigo Advertiser, Lighting - David Wilkinson. Coca Cola Operations. Underprivileged Children, A Kiwanis Concern. Program, Alan Douglas, President, Kiwanis Club, Bendigo. Bendigo Youth Orchestra - Conducted by Daniel Herbst. Valerie Broad Melodic Memories. Sandhurst Drummers - Drum Song. Shantelle Ackland - Grace and Beauty. Aaron Shelton - Tapping Tempo. Neil Cox - Keyboard Carousel. Carlie Sutton and Christy Brain - Boogie Woogie. Tatiana Macura & Alison Grenfell - Voices In Spring. Jack Paynting & Norm Fildew - Comedy Capers. Mi Casa Singers - Harvest of Harmony. Sung-a-long 'You in my Eyes' Lyrics: Rick Norris, Music: Ron Kruze. Bendigo Gym Centre - Creating Magic in the Air, Trainer John Palmer. Janine Giri - Vocal 'Feat'. Estelle Randall - Terse Verse. Kathryn & Christopher Field - Music Maestros. Christy Brain & Carlie Sutton - Beauty & Ballet. Nadine Ellery - 'Dream Time'. Jonathan Cox - Magic of Music. Anton Theatrical Dance Company - Sound of C. Compere: Valerie Broad. Advertisement: Gillies, Pies & Pasties. ''Get me a Gillies''.program, theatre, grand variey concert, kiwanis, a & b/ grand variety concert, kiwanis club of bendigo. j b osborne theatre, kangaroo flat, bendigo. 7.30pm saturday, 4th september 1993. what is a kiwanian?. .. kiwanis founded in detroit, michigan, usa., 1915. the name 'kiwanis' is taken. ..: official accompanist - leila watson, stage manager - rod symes, sound system - bendigo audio productions, collins booksellers, news media - bendigo advertiser, lighting - david wilkinson. coca cola operations. underprivileged children, a kiwanis concern. program, alan douglas, president, kiwanis club, bendigo. bendigo youth orchestra - conducted by daniel herbst. valerie broad melodic memories. sandhurst drummers - drum song. shantelle ackland - grace and beauty. aaron shelton - tapping tempo. neil cox - keyboard carousel. carlie sutton and christy brain - boogie woogie. tatiana macura & alison grenfell - voices in spring. jack paynting & norm fildew - comedy capers. mi casa singers - harvest of harmony. sung-a-long 'you in my eyes' lyrics: rick norris, music: ron kruze. bendigo gym centre - creating magic in the air, trainer john palmer. janine giri - vocal 'feat'. estelle randall - terse verse. kathryn & christopher field - music maestros. christy brain & carlie sutton - beauty & ballet. nadine ellery - 'dream time'. jonathan cox - magic of music. anton theatrical dance company - sound of c. compere: valerie broad. gillies, pies & pasties. ''get me a gillies''.

Book. ALEC H CHISHOLM COLLECTION. 57 page hardback book of poetry dedicated to Alec H Chisholm. Published in 1964 by Jacaranda Press, Brisbane. Printed by H Pole & Co. P/L, Brisbane. Newspaper cutting from the Daily Telegraph 19/9/1964 of poetry review by Kenneth Slessor, including this book. Catalogue sticker ''2005 ROW'' on spine. ''David Rowbotham'' signature in ink on flyleaf. Beneath the dedication to Alec H Chisholm ''- my first editor-in-chief, the man who gave me my professional start, for his understanding as my boss, for his friendship now. Thanks, Chis, for accepting this dedication, David''David Rowbothambooks, collections, poetry, alec h chisholm collection, david rowbotham, poetry

Postcard - Souvenir of Bendigo - Black and white. 15 assorted pictures of Bendigo. Card addressed to Master J.Devlin, Mine Road, Korumburra. Written 'Dear Cobber Jack, we have not wrote for a long time. How is all the family getting on. Where is bill brown now and would you send me billie maroners adress if you know it remember me to all the old mates. I remain your old mate. Willie White, writ street, Back.place, bendigo, picturesque views of bendigo., bendigo views.

''Get me a Gillies'' poster with Tony Lockett from St Kilda football Club and 4 children all holding a pie. On right hand the Gillies logo .business, retail, gillies

Document, Reginald Frederick Hyett, a literate person living in the state of Victoria, on this day 21 February 1933 was made a Justice of the Peace./// Large heavy duty paper certificate , stained along the bottom edge .Front of the certificate -Large letters - Cosmo - Gordon by Divine (?) Archbishop of Canterbury Primate of all England ..by authority of Parliament lawfully empowered for me purposes herein written to our beloved in Christ …Reginald Fredrick Hyett a literate person now residing at Bendigo ..…health and grace ……to confer on you a suitable title of promotion to make you a Public Notary ….I Reginald Frederick Hyett, do swear …that I will be faithful to his Majesty King George ..according to law …I will faithfully exercise the Office of Notary Public …Given under the seal of our Office of Faculties - the foot of the page is signed by the Registrar (of the Office of Faculties ? ) The left of the front page has an embossed seal with handwriting over the top -registered ..18.1.1933 by the clerk of Crown in chancery At the foot of the certificate is a rubber stamped impression -'Faculty Office Doctors commons E.O The back page -written in pencil -'Certificate I Donald Baker Bishop of Bendigo do make known and certify that on .. 21.2.1933 ..appeared before me Reginald Frederick Hyett now residing at Bendigo .. 'Faculty Office Doctors commons London a large red seal in the centre back of the certificate under the signature of the Bishop of Bendigo. Under the seal are the words Notarial Faculty - Reginald Frederick Hyett Esq. Dated 13.1.1933document, names of bendigo pioneers, reginald frederick hyett

Document, Sheet Music, Take Me Back To Bendigo, By Alma Gray Phenomenally Successful Australian Song, written by Alan Rattray & Bert Rache. Signed on front; With all good wishes from Alma Gray,. On the back are the words & music to a song written and composed by Jack Russell titled 'Only a Leaf From the Tree of Life'''.The front has a label -W.H. Paling & Co LtdW.H.Paling & Co Limited, Sydney- Brisbane-Newcastledocument, names of bendigo pioneers, bendigo

AVM Alan Reed AO, Tan Son Nhut, Saigon, June - November 1968. I was an Australian exchange officer flying RF4C Phantoms and training United States Air Force (USAF) pilots and navigators to go to Vietnam. I felt I needed some Vietnam experience if I were to do my job as an instructor. I managed to persuade both the US and Australian Governments to let me go the the war. I claim to be one of the few people 'invited' to the war because, for protocol reasons. the USAF could not order me to go. I was on exchange with the USAF from 1967 to 1970. My job was to fly reconnaissance missions in South and North Vietnam. My navigator was from North Carolina so we named our aircraft the 'Carolina Kangaroo'. All up, I flew 100 missions in Vietnam. Service number 052363 RAAF, 12th Tactical Reconnaissance Squadron USAFBlack and white photo of Alan Reed Sqdr Ldr Pilot at the N.V.V.M. 2015 with supporting info.pilot, alan reed

TROVE: The Advertiser (Adelaide S.A. 1931-1954) Sat 22 June 1935, page 24, Advertising 'PUBLIC NOTICE TO BOTTLERS, BOTTLE DEALERS, ETC., RE PROPERTY BRANDED BOTTLES WHICH ARE NOT SOLD. The undermentioned. Firms and Companies, carrying on business at Sydney and elsewhere. HEREBY GIVE NOTICE that all Bottles delivered by them, to their customers, having a notification moulded thereon that they are, or remain, the property of the Firms and Companies mentioned below. ARE NOT SOLD WITH THE CONTENTS THEREOF, BUT REMAIN THE PROPERTY OF SUCH FIRMS and COMPANIES. Such Bottles are loaned solely for me purpose of enabling the contents to be delivered to the purchasers from the said Firms and Companies, and to all subsequent purchasers of the contents. As soon as the Bottles are emptied of their contents they must not be refilled, destroyed, damaged, or used again for any purpose, but must, on demand, be delivered up to the Companies or Firms whose names are moulded thereon, or to their Accredited Agents:— BUTLER AND NORMAN. LTD., MANDIBLE ST., ALEXANDRIA, NJS.W. The remuneration received by Collectors, Dealers, etc. Is simply an allowance for the safe custody, and collection of the Bottles. LEGAL ACTION WILL BE TAKEN AGAINST ANY PERSON OR COMPANY VIOLATING THE PROPERTY RIGHTS OF THESE FIRMS' OR COMPANIES' BRANDED BOTTLES........................Taylor Chemical Co..............'. TROVE : Courier-Mail (Brisbane, Qld. : 1933 - 1954), Thursday 5 July 1945, page 7, Advertising. DON'T COUGH ALL NIGHT ! take a dose of YCOUGH at bedtime! Y- Cough will relieve your cough or cold while you sleep peacefully! 1'9 AT ALL CHEMISTS AND STORES. On box labels : Taylor Chemical Co. Sydney, Reg. Vic. 3146. Clear, rectangular in section, screw top bottle with orange metal lid and orange, brown & white printed paper label, containing dark brown liquid, in a corrugated cardboard lined orange, dark brown and white printed cardboard box. Embossed on side of bottle in cartouche 'THIS BOTTLE LWAYS REMAINS THE PROPERTY OF TAYLOR CHEMICAL CO. SYDNEY'. Embossed on base of bottle AGM logo with the numerals '16510' along side and the numeral '3' below. On orange metal top printed in white 'Y-COUGH' and 'PLEASANT TO TAKE'. On paper bottle label '....world.......Y-COUGH REGISTERED FOR RELIEF OF COUGHS, OF COLDS, INFLUENXA, BRONCHITUS AND WHOOPING COUGH and for the relief of throat soreness and irritation. DOSE : Adults : one or two teaspoonsful every 2 hours or when cough is troublesome. Children over 6, one teaspoonful every 3 or 4 hours. Under 6, half quantity. FOR Colds and Influenza : one teaspoonful in cup of hot water after getting into bed will give added relief. This package contains 3.77% Potassii Bromidum. Net Contents : 2 1/2 Fl. Oz. Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. Front of box & repeated rear ' Y-COUGH REGISTERED FOR RELIEF OF COUGHS, OF COLDS, INFLUENXA, BRONCHITUS AND WHOOPING COUGH and for relief of throat soreness and irritation. Side 1. of box 'PLEASANT TO TAKE Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. Side 2. of box 'NO HARMFUL DRUGS Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. chemist, medicine, influenza

TROVE: The Advertiser (Adelaide S.A. 1931-1954) Sat 22 June 1935, page 24, Advertising 'PUBLIC NOTICE TO BOTTLERS, BOTTLE DEALERS, ETC., RE PROPERTY BRANDED BOTTLES WHICH ARE NOT SOLD. The undermentioned. Firms and Companies, carrying on business at Sydney and elsewhere. HEREBY GIVE NOTICE that all Bottles delivered by them, to their customers, having a notification moulded thereon that they are, or remain, the property of the Firms and Companies mentioned below. ARE NOT SOLD WITH THE CONTENTS THEREOF, BUT REMAIN THE PROPERTY OF SUCH FIRMS and COMPANIES. Such Bottles are loaned solely for me purpose of enabling the contents to be delivered to the purchasers from the said Firms and Companies, and to all subsequent purchasers of the contents. As soon as the Bottles are emptied of their contents they must not be refilled, destroyed, damaged, or used again for any purpose, but must, on demand, be delivered up to the Companies or Firms whose names are moulded thereon, or to their Accredited Agents:— BUTLER AND NORMAN. LTD., MANDIBLE ST., ALEXANDRIA, NJS.W. The remuneration received by Collectors, Dealers, etc. Is simply an allowance for the safe custody, and collection of the Bottles. LEGAL ACTION WILL BE TAKEN AGAINST ANY PERSON OR COMPANY VIOLATING THE PROPERTY RIGHTS OF THESE FIRMS' OR COMPANIES' BRANDED BOTTLES........................Taylor Chemical Co..............'. TROVE : Courier-Mail (Brisbane, Qld. : 1933 - 1954), Thursday 5 July 1945, page 7, Advertising. DON'T COUGH ALL NIGHT ! take a dose of YCOUGH at bedtime! Y- Cough will relieve your cough or cold while you sleep peacefully! 1'9 AT ALL CHEMISTS AND STORES. On box labels : Taylor Chemical Co. Sydney, Reg. Vic. 3146. Clear, rectangular in section, screw top bottle with orange metal lid and orange, brown & white printed paper label, containing dark brown liquid, in a corrugated cardboard lined orange, dark brown and white printed cardboard box. Embossed on side of bottle in cartouche 'THIS BOTTLE LWAYS REMAINS THE PROPERTY OF TAYLOR CHEMICAL CO. SYDNEY'. Embossed on base of bottle AGM logo with the numerals '16510' along side and the numeral '3' below. On orange metal top printed in white 'Y-COUGH' and 'PLEASANT TO TAKE'. On paper bottle label '....world.......Y-COUGH REGISTERED FOR RELIEF OF COUGHS, OF COLDS, INFLUENXA, BRONCHITUS AND WHOOPING COUGH and for the relief of throat soreness and irritation. DOSE : Adults : one or two teaspoonsful every 2 hours or when cough is troublesome. Children over 6, one teaspoonful every 3 or 4 hours. Under 6, half quantity. FOR Colds and Influenza : one teaspoonful in cup of hot water after getting into bed will give added relief. This package contains 3.77% Potassii Bromidum. Net Contents : 2 1/2 Fl. Oz. Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. Front of box & repeated rear ' Y-COUGH REGISTERED FOR RELIEF OF COUGHS, OF COLDS, INFLUENXA, BRONCHITUS AND WHOOPING COUGH and for relief of throat soreness and irritation. Side 1. of box 'PLEASANT TO TAKE Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. Side 2. of box 'NO HARMFUL DRUGS Sole Manufacturers TAYLOR CHEMICAL CO. SYDNEY. Reg. Vic. 3146'. chemist, medicine, infuenza

ill, maps, p.64.non-fictionThe day before the fight, he was laughing and joking as usual and was full of spirit all though the long night ride. He rode into action just behind me and the last I saw of him, he was standing in his stirrups and cheering.. he was hit in the head and chest. I helped him under the cover of his horse which was killed. I held the poor boy's hands while he passed away. He only lived about ten minutes after he was wounded and did not have any pain, Thank God. world war 1914-1918 - campaigns - palestine, australian army - light horse regiment

Kamilaroi artist Reko Rennie’s vision is an inclusive environment where people can sit and peacefully reflect on, mourn and acknowledge the deep trauma of the past, as well as connect with the ongoing strength and resilience of the Aboriginal community and support the process of healing. 'Remember Me' symbolises community resilience, identity and family. Positioned in a ceremonial ring, the seating and spears create a circle of gathering and remembrance within the park. In a contemporary and historical sense, the spear is an emblematic statement about struggle and adversity, and it is also an expression of identity and connection to land and culture.The 'Stolen Generations Marker, Remember Me', reflects the community’s wish to create a permanent tribute to the Stolen Generations and their families; a place of reflection and respectful commemoration. Integral to this is the surrounding garden with plants local to the area that have been re-introduced into the setting. Sited at the historically important Meeting Place in the heart of Aboriginal Fitzroy, the artwork honours not only the story of this place, but of all Aboriginal people who were taken away. This project was guided by the Stolen Generations Marker Steering Group and realised by Yarra City Council in partnership with the Victorian Government. Most importantly, it has received widespread grassroots community support. It was officially launched on the 20th anniversary of National Sorry Day (26 May 2018), which acknowledges the impact of the policies spanning more than 150 years of forcible removal of Aboriginal and Torres Strait Islander children from their families. On 26 May 1997 the landmark 'Bringing Them Home' report was tabled in Federal Parliament. The report was the result of a national inquiry that investigated the forced removal of Indigenous children from their families. This was a pivotal moment for many Stolen Generations. It was the first time the stories of forced removal were formally acknowledged by the Government and a recognition that these actions were inhumane. The impacts have been lifelong and intergenerational. A collection of bronze spears and a coolamon with accompanying seating, lighting and landscaping positioned in a ceremonial ring.stolen generations, fitzroy

Leo Charles Roy Pallamountagne was born at Moyhu, Vic, Aus. and at the time of WW 1 was employed as a farm hand on the property of Mrs Ellen McCormack (nee Power) at Ovens Vale, Victoria, Australia. Ellen's husband, John McCormack, had deceased 1916. Leo was born at Moyhu, Vic. 1899. He enlisted for service abroad on 30/8/1916 and was posted to the 21st Battalion, Serial No. 6829. Leo's next of kin was nominated as Clara Pallamountagne of Benalla, Victoria. Leo's father was listed as "whereabouts unknown" at the time of Leo's enlistment. Leo was wounded in action in France, Oct 1917. Leo returned to Australia on 10th March 1919 and was discharged on 17th April the same year. Leo (or Leon) married Evelyn Mary Paxman in 1922, they had seven children. Leo died on 23rd April, 1941 at the Military Hospital, Caulfield. Address in 1931 was Pier Street, Dromana. Occupation, Civil Servant Address in 1936 was Tresco, Victoria, Occupation, OrchardistMemorabilia of Leo Pallamountagne War Service on Western Front, France, 1917. Postcard of card and light gauze cloth upon which is embroided six flags in national colours flanking a rising sun plus wording in red on a blue ribbon flourish "For Liberty and Justice 1917"Hand written in pencil Addressed to Mrs J McCormack, Ovens Vale, Victoria, Australia. "France Sept 1917 To the Company just a few lines hoping you are all well as it leaves me at present There is not news here at present but will write again, Your true Friend Leo, Pallamountagnepallamountagne. western front. postcard.

Coloured image taken from Ektochrome slide by 2786946 John McEwan. Group of Army Officers in a crowd of soldiers with Chaplain's CrossFrom my 'day book' Christmas Day 1970 - I quote. "About midnight, "chuck" Berry worn out, his second tour....caught me by surprise, standing in the door looking at me "I've had it" is all he said"ektachrome slide, 1st australian field hospital, photograph

I thought the war in Vietnam would never end, and after it did I never wanted to hear or think of it again, until someone I trust told me to read this book. vietnam war, 1961 - 1975, personal narratives

I thought the war in Vietnam would never end, and after it did I never wanted to hear or think of it again, until someone I trust told me to read this book. vietnam war, 1961 - 1975, personal narratives

A card encouraging customers to give a gift at Christmas to the boy who delivers or sells them their daily newspapers. Undated but perhaps early 20th century.Pink coloured card with greeting, verse and image of Santa Claus printed in blue. Stamped on the back.Printed on front: 'A Merry Xmas and a Happy New Year to You. Once a Year this Christmas comes - But I come round each day; I bring you all the news there is, in a most respectful way. A Christmas Gift just once a Year Would make me mighty glad; Although I'm only young you know - But an Honest Paper Lad. Stamped on rear: 'Cards, Books and Stationery. You will get satisfaction from McArthur's Agency St Kilda. Latest books & periodicals by every mail.'st kilda businesses, 20th century, st kilda - history, mcarthur's agency

Postcard sent by a soldier serving in Northern France in 1916 to, it is believed, Miss Olive Appleton.White coloured postcard with a silk inset on the front that has been embroidered with a basket of multi-coloured flowers and the words 'A Kiss from France'. Handwritten message in blue in on the back.North France 18/4/16 Dear Olive Got this card to let you know where I am and that I am in the best of health and spirits. Remember me to all. From Yours Sincerely Fred. xxx wwi, world war i