Book. ALEC H CHISHOLM COLLECTION. 260 page hardcover book in a clear plastic jacket. 'The Spirit of Wharf House' tells the story of the merchant Robert Campbell (1769-1846) and descendents and his enterprise from Calcutta to Canberra (1788-1930). The author, C.E.T Newman, is a descendent. Published in 1961 with the assistance of the Commonwealth Literary Fund, by Angus and Robertson and printed by the Halstead Press, Sydney. Copy No.60 of a limited edition print run of 100. Illustrated with 30 colour and B&W photos and several sketches. Catalogue sticker ''2205 NEW'' on spine. Handwritten in ink on flyleaf ''To Alec Chisholm With the author's gratitude C. E. T. Newman''C. E. T. Newmanbooks, collections, history, alec h chisholm collection, robert campbell, c.e.t.newman, canberra, duntroon, yarralumla

Medal awarded to Private C T WHYMAN 554269 who served with the 16th London Regiment (County of London). The 16th Battalion was known as the Queen's Westminster Rifles, an Infantry regiment of the British Army formed in 1908 and disbanded in 1938. The Battalion was engaged on the western front between 1914 and 1918. The item was found and no further information is known regarding Private WHYMAN.Round bronze medal - The obverse shows figure of 'Victory' (or 'Victoria') with her left arm extended and holding a palm branch in her right hand.The reverse has the words ‘THE GREAT / WAR FOR / CIVILISATION / 1914-1919' in four lines, all surrounded by a laurel wreath.The ribbon has an iridescent multi-colour scheme and attaches to the medal through a ring suspender The recipient's name, rank, service number and unit is impressed on the edge of the medal. 554269 Pte C T WHYMAN 16 LOND Rww1, 16 london regiment, c t whyman, 1918, victory medal

Sporting teams used T-shirts to identify their players.Mt Beauty had a team playing sport and used red T-shirts to identify their players.Red cotton T-shirt with collar & 2 buttons at the front from the neck. Short sleeves with yellow band. Yellow in capital letters "Mount Beauty" machine sewn on the front and "233" yellow numbers machine sewn on the back. Unusual to have a separate piece of material sewn under the arm pits.Label at neck on inside: "Haworth Knit / Glen Iris, Melb. / 100% cottonsporting clothing. team sport. mt beauty.

Photograph of E H Lascelles, T E Bostock, JSB Orr, D Strachan taken in 1891E H LASCELLES T E BOSTOCK/JSB ORR D STRACHAN/ JUNE 1891 MURIEL FORSTER [?]/ JUNE 1891wool brokering, dennys, lascelles limited, lascelles, mr edward harewood strachan, mr david - strachan and co. limited bostock, mr t e orr, mr j s b

The first bright Railway station was made of timber and was used from 1890 to 1900. This photograph shows the first station along with an early T class steam locomotive 0-6-0, number T53There are not many photographs showing the original timber station, The early T class loco is also interesting as there are only a few photographs of this type of loco on the Ovens Valley line.Black and White photograph showing the first bright Railway Station which lasted from 1890 to 1900. Also shows an early T class locomotive (0-6-0) no T53 at the stationOne of Bright's first trains at the first station, 1890 - 1900. On the back, it has the text, 'Bright Station 1894'photograph, bright, first, station, wooden station

A circular bowl on a raised round base with a ridged rim. It is a silver plated copper bowl.On bottom : A.J. Quality Sterling Silver platedcontainer bowl silver-plated

Hand carved wooden pipe with long stem and large bowl metal insert in bowl.personal effects, smoking accessories, pipe

Boxed miniature of the Lexus Melbourne Cup, gold with round bowl and 2 handles on bowl.Proudly manufactured by ABC Bullion, a Pallion company.lexus melbourne cup

Part of the crockery used on the "S.S.Casino" one of the Belfast and Koroit Steam Navigation Company ships used on the Melbourne-Port Fairy -Portland run. Sank in 1937 in Apollo Bay.Bowl: large white soup bowl with the inscription of the Belfast & Koroit Steam navigation Company"Belfast & Koroit S N Co Ltdlocal history, domestic items, crockery, belfast and koroit steam navigation company, s.s.casino

Mt Beauty rural fire brigade was established in 1948 by the State Electricity Commission of Victoria as an industry brigade. When Mt Beauty was handed over to the Shire in 1961, the fire brigade became a member of the Country Fire Authority (C.F.A.). Today it is an urban fire brigade. The t-shirt would have been used when members were together during fire drills, competitions, meetings etc. The black shirt was used prior to 1950 and the Red shirt was used after March 1950 The red t-shirt was used in the following yearThe t-shirt was part of the Mt Beauty fire brigade uniform indicating that the fire fighters were part of a team and were able and wanted to be recognised. It also indicates a strong and popular organisation. Black thick cotton t-shirt with collar and short sleeves. A zip is at the top front. Sleeves have yellow strip near their opening. "Mount Beauty F B" has been zig zagged stitched onto the front, also in yellow. Red thick cotton t-shirt with collar and short sleeves. 2 buttons at the top front. Sleeves have a yellow strip near their opening."Mount / Beauty" has been zig zagged stitched onto the front, also in yellow.Tag inside back under collar - "Sportswear / Simpson / of Melbourne / Mr - then P.A.B. handwritten in space provided. also '36' and 'All cotton' tags attached. Tag inside back under the collar - "Haworth Knit / Glen Iris, Melb./ 100% Cotton"mt beauty; fire brigade; clothing; state electricity commission of victoria

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic

Provides a history note on T class tramcar No. 180, the builder (Duncan and Fraser), alterations, use and retention by the TMSV. Gives the specifications and Data on the tram. Built for the MBCTT. The tram is on display at the Melbourne Tram Museum. Yields a brief history of Tram T 180Single page, spirit duplicated foolscap sheet, Research Note - "Tram T 180. Dated 18/4/1966, written by Keith Kings. Stapled to item 6502. Has the TMSV Heading on the sheet.tramcars, tramways, history, mbctt, t class, tram 180

Map of area bounded by Ringwood Street, Melbourne Street and Adelaide Street, showing details of Adelaide Street allotments and existing outbuildings. Certificate of Title numbers include Ringwood Street C/T 3418-553, C/T 3563-433, Adelaide Street C/T 7151-047, C/T 7038-465, C/T 7098-464, C/T 7098-465, C/T 3604-635, C/T 8066-900, C/T 3866-118, C/T 3609-728, and C/T Vol 3670 Fol 133992.Subsequent additional notations identifying 1971 closure of Melbourne Street North, and properties of Hone, Patendon, Pines Hosptial, Mail Office, Presbyterian Church and Falconers Grocery Shop on Whitehorse Road corner.

Mounted sepia photograph of 3 soldiers - identified as follows (L to R) R. S. Gregor, T. Gardner, R. Punshon (seated). They are with their rifles and there are tents in the background.Handwritten on paper: T. Gardiner, R. Gregor, V. R. Punshon. Handwritten on back: 21-9-14 with compliments to A. F. Boardman, from R. S. Gregor Expeditonary Force 7th Battalion E Company on the eve of Departure for the Front under Colonel Elliott / R. S. Gregor, T. Gardner, Roy Punshon Stamped on back: Hewitt, Photographer, 92 Regent St. North Richmondgardner, t., gregor, r., punshon, v. r., boardman, a. f., r. s., armed forces, roy, soldiers, gardiner, elliott, - (col.), photographers, hewitt, george evans collection

The Port Phillip Farmers Society was instituted in 1848. It was reported by the Ballarat Agricultural Society in 1859 that flax was grown in the Ballarat district. Flax was sown at Brown Hill on 04 October 1858, the seed saved, and the flax beetled on 28 February 1859. The exhibitor was T. MCKenna who was the first flax produced in the colony. 'Sample of Flax Plant First Prize Awarded to Mr T. McKenna 1857"port phillip farmers society

This certificate was awarded to Beechworth Fire Brigade for winning the eight men hose & reel practice at the inter-colonial Demonstration held at Albury, NSW on January 1st 1895. Pictured from left to right: T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan. Black and white certificate reproduction printed on matte photographic paperObverse: Beechworth Fire Brigade / Winners of the Eight Men Hose & Reel Practice / at the intercolonial Demonstration / Held at Albury, NSW / Jan 1st 1895/ T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan Reverse: BMM 6933emergency services, burke museum, fire brigade, fire, beechworth, 1895, albury, beechworth fire brigade

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as it is believed to be an early example of the SOL trademark made between 1913-1925.Ironstone wash jug and bowl set, white, often referred to as a ewer and bowl. Both jug and bowl have matching raised embossing of panels with floral motifs within them.Both items have marks "Ironstone China Reqd SOL 39/4/3 STG Meakin England" Trademark of J & G Meakin with sun emblem .flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug china white and basin, jug, jug and basin, jug & bowl, ewer, bowl, ewer & bowl, j and g meakin, ironstone ware, bathing, washing, personal hygiene

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This shaving soap dish iis part of the collection of items given into the care of the Cheese World Museum. Uebergang catalogue No.F33 Round black Bakelite shaving soap dish with screw-top lid and three small legs; paper label on lid.Colgate's (on centre of lid); COLGATE'S SHAVING BOWL (on base)

Formed in 1921, A.W Steane was the first president of the Ballarat Junior Technical School Ex-Students' Association which later became the Old Boys Association. The association conducted regular social evenings at the school in order to keep past students in touch with one another and to provide amenities for the school. Fund raising dances, smoke nights, film nights and visits to local industries were held. The Old Boys Association presented the Honour Blazer to the best all-round student at Speech Night until 1941 when a wallet bearing an O.A.B. badge was given as the prize. Then in the 1950s a two-year scholarship was instituted to attend the senior school. Donations were also given to purchase library books and sporting equipment. The major event held each year was the Annual Meeting held in July usually at the Wattle Tea Rooms where up to 100 past students would meet.Multiple gold coloured metal lapel pins with enameled face. 'Ballarat J T S' is set in green enamel, and the Old Boys Association is set in blue. The face is oval shaped with a banner across the bottom. These pins are carried in a cardboard box bearing the label of Stokes & Sons.On the front face - Ballarat J T S, Old Boys Association. Impressed into the back face - Stokesballarat junior technical school, ballarat junior technical school old boys association, stokes and sons, lapel pins

A mass produced utilitarian item made for domestic use no history or manufacturing provenance currently available. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset given it was produced before 1950.White earthenware bowlNoneflagstaff hill museum, shipwreck coast, ironstone pottery, earthenware, bowl

Stainless steel bowl

Domestic Glassware Bowl stawell