The house is partially completed. The house is still there today (2024).Taken by Roy J Mitchell

Aqua tinted clear glass bottle, oval in section, with embossed text on panel on one side.On side 'J. BOSISTO', 'RICHMOND'.eucalypotus oil, richmond

When Lexton School closed in 2001 the bell was brought to the Community Centre. Commissioned for 12 pounds in 1878significant to the Pyrenees Shire and Lexton communitycast gun metal bell Maker J. Mill Melbourne

Item in the collection relating to C.J.C. McQuie MM, refer Cat No 9680P for his service details.Booklet, red covers, 64 pages with photos, maps, and information on places in Versailles and Trianons.On front cover hand written, "J. McQuie 26/9/19". Inside first page, "Lieut J. McQuie 6 Bn AIF Paris 26/9/19"booklet, versaille, mcquie

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

Large white ironstone china bowl. Made by J & G Meakin. Hanley England. 15' in diameter.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, china bowl, bowl

IT IS ON PERMANENT LOAN FROM HEPBURN SHIRE COUNCIL.CR. W. J. CHAMPION WAS ELECTED COUNCILLOR TO CLUNES BOROUGH COUNCIL IN 1914 AND WAS MAYOR 1926-27. THE PHOTOGRAPH ORIGINALLY HUNG IN THE CLUNES TOWN HALL DURING HIS TERM AS MAYOR.PHOTOGRAPH OF CR. WILLIAM J. CHAMPION - FRAMED.CLUNES BOROUGH COUNCIL WILLIAM J. CHAMPION. ELECTED COUNCILLOR 12.10.1914. MAYOR 1926-27. HORNBY STUDIOS BALLARATlocal history, photography, photographs, councillors & officers

Book prize awarded to T Boyd (enrolled 1873) for excellence in Writing by Principal F J Thomas in 1874. The book was donated to the school by Sheila (Campbell) Edwards who purchased it from a secondhand dealer in Melbourne.During these early times book prizes were ordered from London where they were specially bound and embossed with the College crest. F J Thomas had an illustrious career at Ballarat College. During his tenure as Principal it was discovered the BA after his name stoold for Bonn Academy (Germany) not, as may have been implied, Bachelor of Arts. Once discovered he left the State under 'not too dignified circumstances' as Mein records in the 1964 History of Ballarat College, p. 19. Light brown calf binding with gold borders to front and back covers; raised bands on spine with six compartments, gold lettering and decoration; school crest embossed on front cover; book plate inside front cover;black and white sketches on frontispiece and throughout book;Book plate inside front cover: Ballarat College crest / PRIZE / FOR / Writing / Awarded to / T Boyd / 1874 / F J THOMAS, B.A.PRINCIPALshelia-edwards, thomas-boyd, 1974, book-prize, ballarat-college, f-j-thomas

Typed letter from Town of Ballarat East Town Clerk, J. Gent, to the Registrar of the Ballarat School of Mines.ballarat east council, town of ballarat east, coat of arms

These items contributes to an understanding of an understanding of the experience of family and friends of those who serviced in the war in Vietnam.2 letters via Airmail from Vietnam to Australia. To Miss S. Richards from J. Hartwell - 3794001.Air Mail/Australian Force/Vietnam/Free/Miss S Richards/9 Seaview Cres/ Black Rock/3193/Vicletters, j hartwell, 3794001

Yields information about the building known at the Ballarat Orphanage at the terminus of the Victoria St line and known as "Orphanage" during the ESCo operating day.Colour digital images taken by W. J. Llewelyn of the Ballarat Orphanage, Victoria St terminus, Ballarat, c1960.trams, tramways, orphanage, victoria st

Colour digital images taken by W. J. Llewelyn of the view from Black Hill overlooking Ballarat c1980?trams, tramways, black hill

John Kendrick Blogg was born in Canada and migrated to Victoria in 1877. In 1884 he established a successful industrial chemistry business, which included extracting perfume from Australian native trees and plants.liquid ammonia for refrigeration, acetic acid, perfumes, shoe polish, baking powder and non-alcoholic drinks. Other products were He lived at 'Balmoral' in Albany Crescent, Surrey Hills; his woodwork was produced here. Family oral history has that he took up woodcarving after his 1st wife, Annie, died in 1893. His earliest known piece is a music cabinet of 1901; the latest is a panel of 1932 when Blogg was 81 years of age. He was a member of the Victorian Artists Society and exhibited there between 1920 and 1924. Much of his work incorporates motifs of Australian flora, particularly gum leaves. John and his family were members of St Stephen's Presbyterian Church, Surrey Hills. The present church building was dedicated in December 1910 and J K Blogg's contribution to the new building was the Hogg Memorial pulpit which is comprised of 13 panels. Blogg carved more than 300 pieces for churches, schools, royalty, family and friends. Many of J K Blogg's pieces remain with family members, but he is represented in municipal (City of Whitehorse), state and national collections. In addition to work in the St Stephen's Presbyterian Church within the Surrey Hills area his work was produced for Surrey Hills Primary School, Surrey Hills Bowling Club and Surrey Hills Methodist Church, however perhaps his most famous local work is the honour board at the Shrine in the Surrey Gardens. Blogg was also a poet. Ref: Legacy in Sculptured Wood - An appreciation of the work of John Kendrick Blogg, 1851-1936 by Marjorie Morgan, 1993.Colour photo of the central panel of the pulpit at St Stephen's Presbyterian Church in Canterbury Road, Surrey Hills. It depicts the burning bush.hogg memorial pulpit, st stephens presbyterian church, churches, woodcarving, church furniture, john kendrick blogg, john blogg

John Kendrick Blogg was born in Canada and migrated to Victoria in 1877. In 1884 he established a successful industrial chemistry business, which included extracting perfume from Australian native trees and plants.liquid ammonia for refrigeration, acetic acid, perfumes, shoe polish, baking powder and non-alcoholic drinks. Other products were He lived at 'Balmoral' in Albany Crescent, Surrey Hills; his woodwork was produced here. Family oral history has that he took up woodcarving after his 1st wife, Annie, died in 1893. His earliest known piece is a music cabinet of 1901; the latest is a panel of 1932 when Blogg was 81 years of age. He was a member of the Victorian Artists Society and exhibited there between 1920 and 1924. Much of his work incorporates motifs of Australian flora, particularly gum leaves. John and his family were members of St Stephen's Presbyterian Church, Surrey Hills. The present church building was dedicated in December 1910 and J K Blogg's contribution to the new building was the Hogg Memorial pulpit which is comprised of 13 panels. Blogg carved more than 300 pieces for churches, schools, royalty, family and friends. Many of J K Blogg's pieces remain with family members, but he is represented in municipal (City of Whitehorse), state and national collections. In addition to work in the St Stephen's Presbyterian Church within the Surrey Hills area his work was produced for Surrey Hills Primary School, Surrey Hills Bowling Club and Surrey Hills Methodist Church, however perhaps his most famous local work is the honour board at the Shrine in the Surrey Gardens. Blogg was also a poet. Ref: Legacy in Sculptured Wood - An appreciation of the work of John Kendrick Blogg, 1851-1936 by Marjorie Morgan, 1993.Colour photo of the some of the 13 panels forming the pulpit at St Stephen's Presbyterian Church in Canterbury Road, Surrey Hills.st stephens presbyterian church, churches, hogg memorial pulpit, woodcarving, church furniture, john kendrick blogg, john blogg

This book includes the classic poem ‘Rime of the Ancient Mariner’ by Samuel Taylor Coleridge, the lines of which are set out in twelve pages of double columns. Each section of the poem is titled, such as 'Part the Sixth'. The twenty lithographed line drawings by J. Noel Paton RSA illustrate major events of the story and repeat the applicable verse below them. Most of the drawings have the initials of the artist and the lithographer on the bottom corners, below which are printed their names. The margins of the poem contain printed author's notes. Interestingly, the printer's name is added as a footnote on page 12, at the end of the poem. The book is included in the Rare Books collection of Flagstaff Hill. Its description closely matches one of two copies of the book held by the British Museum. There have been other publications of Coleridge’s poem over the years, based on various editions of his poem and illustrated by other artists. When this book was first published, Paton’s illustrations were available individually for the public to purchase. The author, Samuel Taylor Coleridge (1772-1834), was a notable late 18th to early 19th century English poet. He was the youngest of fourteen children. His father was a vicar as well as the master of a grammar school, with Samuel attended. Coleridge's longest poem, 'Rime of the Ancient Mariner', was written about 1797-1798 and tells of the experiences and adventures of a sailor. It was included in a collection of poetry titled 'Lyrical Ballads', jointly written with his friend William Wordsworth. The volume is considered the beginning of the Romantic era of British poetry. Coleridge acknowledges William Wordsworth in this poem, in ‘Part the Forth’ with the footnote “For the two left lines of this stanza, I am indebted to Mr Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed”. Sir Joseph Noel Paton RSA (1821-1901) is a well-known Scottish-born artist and painter of historical artwork, created the line illustrations in 1863, highlighting the main points of the poem. In the same year he also illustrated Charles Kingsley's 'Water Babies'. He was appointed Queen’s Limner for Scotland from 1866. The book was published in 1863 by the Art Union of London, an organisation whose members paid an annual subscription, and who received an annual prize of a work of art. The organisation was established in 1837 and membership quickly grew until the 1870's. Membership then slowly dropped off until the organisation was would up in 1912. Lithographer William Husband McFarlane, of Edinburgh, Scotland, created the black and white lithograph outlines from Paton’s drawings, illustrating many of the lines of the poem. The book of poetry and Illustrations was then printed by Neill & Company, Edinburgh, in 1763. The company was formed by Patrick Neill in 176. The company was known for inventing one of the early mechanical typesetting machines, which was used for the Company's publications as well as sold to other companies even into the early 1900s. The firm continued in business until 1973. This copy of the book was presented to Emily Taylor Smith by her father on September 16, 1867, four years after it was published. There is no further information available about Emily at this point in time.This Victorian era book of poetry with illustrated prints, the 'Rime of the Ancient Mariner' by Samuel Taylor Coleridge, is considered to be a rare book. The British Museum holds two copies, one of which is very similar in description. The book is significant for containing a poem written by the renowned British poet Samuel Coleridge, who acknowledges the contribution of a couple of the lines to his friend William Wordsworth. The book's significance is increased for being included in a collection of poetical works jointly written by Coleridge and his friend William Wordsworth, entitled 'Lyrical Ballads' and published in 1797. The printer of the book, Neill & Company, was known for pioneering an early mechanical typesetting machine. It’s significance also includes the collection of Victorian artwork within. Coleridge's poem is significant for being included in 'Lyrical Ballads', which is considered to signify the beginning of the Romantic era of British poetry. Book: large, burgundy linen covered, hard cover, with gold embossed title and images, landscape orientation. Title: Coleridge's Rime of the Ancient Mariner. Author: Samuel Taylor Coleridge Illustrator: J. Noel Paton, R.S.A. Publisher: Art-Union of London in 1863. Lithographer: W.H. McFarlane in Edinburgh, Scotland, 1863. Printer: Neill & Company, Edinburgh, Scotland Contents include the lines of a poem, with lithograph illustrations above applicable short verse. The cover and fly page have the same emblems. A personal inscription is hand written in nib pen inside the book.Printed: "COLERIDGE'S RIME OF THE ANCIENT MARINER" "ILLUSTRATED BY J. NOEL PATON, R.S.A." "ART-UNION OF LONDON, 1863" " W.H. McFARLANE, LITHOGr, EDINBURGH" "Printed by Neill & Company, Edingurgh" Emblems embossed on cover, and a repeat printed on fly page, include stars encircling a crucifix and a snake entwined around a cross bow with a branch in its mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coleridge's rime of the ancient mariner, rime of the ancient mariner, ancient mariner, samuel coleridge, j. noel paton, art-union of london, 1863, rare book, samuel taylor coleridge, art union of london, w.h. mcfarlane, william husband macfarlane, sir joseph noel paton, poem, emily taylor smith, 1867, romantic period, william wordsworth, lithograph, poetry, lyrical ballads, british romantic movement, literary work, neill & company edinburgh, j. noel paton rsa, mechanical typesetting, alexander neill fraser, mechanical typesetting machine

Mounted sepia coloured photograph of soldier Alfred T. Ozanne standing at ease with riding crop in right hand and left hand behind his back.Printed on front: J. Lockwood - Geelong Typewritten on white paper: Alfred T. Ozanne Handwritten on back: With complements and best wishes - Alfred T. Ozanne.lockwood, j., geelong, ozanne, alfred t., photographers, soldiers, armed forces, george evans collection

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Hollow type No15 J Hastie Stamped EG W.M flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

K. McCULLAGH PURCHASED THE MEDAL AT CASH CONVERTERS IN PERTH - CHRISTMAS 2001, AT A COST OF $300GOLD MEDAL COMMEMORATING BALLARAT TO CLUNES BICYCLE RACE IN 1896.BALLARAT TO CLUNES J ALLAN 9CTlocal history, numismatic, medal, sport, bike race, commemorative

Black and white photograph of Q class No. 197 at South Melbourne depot, probably soon after it's entry into service during Sept. 1923. Has the MMTB name along the rocker panel, and a PMTT-style destination box, showing the destination of Hanna St Depot. This type of destination mechanism would have required a person standing on the bumper bar, to reach up to change the destination.Yields information about the then new Q class trams.Black and white print with photographer's detail on the rear."C J Frazer" photographers stamp.tramways, tramcars, tram 197, south melbourne depot, hanna st depot, q class

The Ballarat School of Mines is a predecessor institution of Federation University AustraliaTwentyfour printed notices relating to Council meetings of the Ballarat School of Mines. Each is signed by Frederick J. Martell, Registrar. ballarat school of mines, frederick j. martell, ballarat school of mines council

Sketch by J. Grigg. If you are able to assist with information on this artist or artwork please contact us via the comment below.artwork, artist, j. grigg, drawing

Design by J. Patrick, S. Mullany, drawn by S.M. On 07.01.1988, amended 12.01.1989. (1) On tracing paper. (2) On paper.j. patrick, s. mullany, vcah, burnley

Wool sample book presumably produced by J. Tynan in 1954 for a class insturcted by V.H. Dorron.Wool sample book presumably produced by J. Tynan in 1954 for a class insturcted by V.H. Dorron.Echuca Wool Class 1954 Echuca Wool Class 1954 Awarded to: J. Tynan Presented by: V.H. Dorron Instructorwool industry education, tynan, j. dorron, mr v, echuca, victoria, wool industry, education