Showing 1467 items
matching johnsons
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Bendigo Historical Society Inc.
Painting - JOHNSON'S REEF GOLD MINING COMP
Water colour painting of Johnson's Reef Gold Mining Camp California Gully Bendigo Victoria Australlia.organization, mining, johnsons reef -
Bendigo Historical Society Inc.
Document - MORLEY JOHNSON'S INVOICE, 27/09/1949
Morley Johnson's Invoice: Cream coloured with Mitchell Street, Bendigo Phone 185 27/09/1949. Bought of Morley Johnson's (Bendigo) Pty Ltd. (Incorporated in N.S.W. Everything for the Home. Estimates and Designs on Application. Served By Mall for a light pendant. No 48. Box 625business, retail, house furnishings, morley johnson's -
National Vietnam Veterans Museum (NVVM)
Equipment - Equipment, Army, Field Dressing, 1941
Tan coloured cotton package containing dressing. Instructions for use written on outside.Commonwealth of Australia Shell Dressing. Extensive directions for use. Johnson & Johnson P/L Syd October 1941field dressing, shell dressing, sas -
Tatura Irrigation & Wartime Camps Museum
Book, Waranga, 1965
Presentation of day-to-day happenings in Warange district by a member of Soldier-Settlement family. Research period 1865-1965Gold dust jacket. 1860 goldfields depicted thereon. Printing in white and red. 147 pagesRon Johnson Hunter. Xmas 1965waranga, forster hw, tatura, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Waranga, 1965
Presentation of day-to-day happenings in Warange district by a member of Soldier-Settlement family. Research period 1865-1965Gold dust jacket. 1860 goldfields depicted thereon. Printing in white and red. 147 pagesRon Johnson Hunter. Xmas 1965waranga, forster hw, tatura, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Waranga, 1965
Presentation of day-to-day happenings in Warange district by a member of Soldier-Settlement family. Research period 1865-1965Gold dust jacket. 1860 goldfields depicted thereon. Printing in white and red. 147 pagesRon Johnson Hunter. Xmas 1965waranga, forster hw, tatura, books, history, local -
Flagstaff Hill Maritime Museum and Village
Domestic object - Plate, Johnson Bros
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.A white earthenware side plate with a gadroon edge. Has water marks and chips on front.‘Johnson Bros England Reg No 15587’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, johnson bros, ceramics, tableware -
Phillip Island and District Historical Society Inc.
Photograph, 1950's
Photograph donated by Rod Carmichael.Black & White laminated photograph. San Remo Pier with "Evening Star". Newhaven Pier in the background. L Talbot and B Johnson 1950 ?ferry evening star, ferries, san remo pier, newhaven pier, rod carmichael -
Bendigo Historical Society Inc.
Domestic Object - 4 SIDE PLATES
Four white china side plates decorated with sprays of pink roses and green leaves, crimped edges with gilding around rim.Sovereign Pottery Johnson Made in Australiadomestic equipment, food consumption, plates -
Bendigo Historical Society Inc.
Book - BENDIGO YACHT CLUB 25TH ANNIVERSARY 1962 - 1987, 1987
Bendigo Yacht Club 25th. Anniversary. A Brief History 44 pages. Compiled by Brian Guest and Hugh WardA. Johnson, B. Guest, H. Wardbendigo, sporting clubs, bendigo yacht club, bendigo, bendigo yacht club, sport -
Bendigo Historical Society Inc.
Document - ROBERT DENIS KELLY COLLECTION: MAP OF ELECTRIC RAILWAYS OF LONDON
Document: map of the electric railways of London. Buff coloured document, printed in black, white and red on front cover. Folds into 9 x 14 map. Details include tourist destinations, descriptions of costs etc.Johnson, Riddle & Co. Ltd. London.person, robert denis kelly, world war 1, robert denis kelly collection, france, london, underground, electric railway -
Bendigo Historical Society Inc.
Document - WINDMILL HILL - PRODUCTION STATISTICS
Handwritten copy of production statistics from Windmill Hill. Some of the Miners were: Sullivan and his sons, Lindsay and Taylor, Thorpe & Co and Mr Lansell. The mines mentioned are: Confidence Lease, Central Windmill, Cinderella Claim,Confidence Extended, Extended Hustlers, Carlisle, Garden Gully, Johnsons Reef, United Hustlers & Redan, North Johnsons and United Devonshire. Also a piece of paper (b) with Johnsons Group See Annals of Bendigo 1872. Page 140.document, gold, windmill hill, windmill hill, production statistics, sullivan and his sons, lindsay and taylor, thorpe & co and mr lansell, confidence lease, central windmill, cinderella claim, confidence extended, extended hustlers, carlisle, garden gully, johnsons reef, united hustlers & redan, north johnsons and united devonshire. a m s special edition 1/6/1899 page 47, annals of bendigo 1872 page 140 -
University of Melbourne, Burnley Campus Archives
Newspaper - Newspaper Cutting, The Australian, Phillip Johnson, 2014
(1) Article in "The Weekend Australian Magazine" Oct/Nov 2014. "10 Questions Phillip Johnson (1998), Landscape Designer, 40." (2) Article in "The Weekend Australian Aplus" Nov 15-16, 2014. "Flora" by Helen Young. Article about Phillip Johnson's book, "Connected."the weekend australian magazine, phillip johnson, helen young, landscape designer -
Bendigo Historical Society Inc.
Photograph - KEN BICE COLLECTION: CENTRAL DEBORAH MINE, BENDIGO
Copy of photo: 6 miners sitting down, underground. On back miners at No. 16 L (1270 ft.) plat Central Deborah Mines, Bendigo, 1952. From left Jackie Lewis, Bob Johnson, Bill Landy, Roger Yates, and Les Johnson. This is a digital only photograph.bendigo, mining, central deborah mine, bendigo, mining, central deborah, lewis, johnson, landy, yates, johnson. -
Tatura Irrigation & Wartime Camps Museum
Photograph, Croquet Club
Tatura Croquet Club.|Members include Mesdames Francis, J.S. Hill, Johnson, Wedlock, Robbins, Pigdon and Hunter.tatura, recreations, games, sports, costume, female, male, children -
Stawell Historical Society Inc
Memorabilia - Realia
Household Items - 2 Shell Dressing Commonwealth of Australia(John & Johnson Pty Ltd Sydney) November 1941stawell, ww2 -
Flagstaff Hill Maritime Museum and Village
Snips
Tin Snips metal 298mm x 45mm Has an "X" stamped on handle. Maker Johnson & Co Sheffieldflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Falls Creek Historical Society
Photograph - Bogong Trip 1951- On Eskdale Spur
MEYER COLLECTION - FALLS CREEK PHOTOS In 1947 a determined group of like-minded State Electricity Commission (SEC) staff including Ray Meyer, the chief surveyor of the Kiewa Hydro-Electric Scheme, had a common interest that revolved around the skiing potential of the snow-covered high plains which included what is now the resort of Falls Creek. The six SEC employees, Toni St Elmo, Ray Meyer, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson (together with their families) banded together to secretly build a 'hut' that was the first ski lodge at Falls Creek. Using a road built in 1930s to gain access to Falls Creek, their hut project was carried out in secret as efforts by other skiers were blocked by H.H.C. Williams – the engineer in charge of the Hydro Scheme. In 1946 Ray Meyer made a trip to the Lands Office in Melbourne. He came away with a 99-year lease on three acres that was ideally suited for a hut designed by Lloyd Dunn. Adrian Ruffenacht (Design Engineer for the KHS) had suggested where the group should build because of easy access to a spring for water. Much of the building material required was scavenged from derelict huts on the high plains. Due to the need for secrecy, the determined group worked on the hut in the evenings and weekends to avoid detection. During the building period the group had met at Echidna Rock (now known as Eagle Rock) where Skippy St Elmo announced, "This is my favourite ‘Skyline’.” And so the first lodge in the area at Falls Creek Ski Resort came into existence. With the development of the International Poma in the 1970s, the Skyline Lodge, which was sited between the ski-lift’s pole one and pole two, was demolished. However, the legacy of Ray Meyer, Toni St Elmo, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson and Skyline lives on in the vibrant atmosphere of Falls Creek Resort. The MEYER COLLECTION documents developments on the Kiewa Hydro Scheme and their life at Falls Creek from the mid 1930s to 1960s.This image is significant because it depicts aspects of the life of a pioneering family of Falls Creek and the founders of "Skyline", the first lodge at Falls Creek.Black and White Image of Skiers on Eskdale Spur Left to Right:- Wal Johnson, R. Gibbs, Raye Meyerfalls creek, bogong high plains, ray meyer, timms spur -
South West Healthcare
Corn Plaster Set, 20th century
1 box 12 corn plasters;1 metal stand with glass lamp with 1 wick.Box labelled "Johnson & Johnson" , "MADE IN ENGLAND" "THICK" "CORN P". Distributers label - "SAMBELL'S Cnr. Pharmacy/ WARRNAMBOOL"medicine, corn plaster -
Flagstaff Hill Maritime Museum and Village
Equipment - Ribbon Gauze & Box, Johnson & Johnson Pty Ltd
Most surgical wounds are closed primarily, but some are allowed to heal by secondary intention. This usually involves repeated packing and dressing of the raw wound surfaces. Although the long-term care of such wounds has devolved to the care of nurses in the community or out-patient setting, the initial wound dressing or cavity packing is done by the surgeon in the operating theatre. Many surgeons are unaware of the growth of the discipline of wound care, and still use traditional soaked gauze for dressing and packing open surgical wounds and cavities. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1963638/The control of bleeding and wound management is vitally important for the survival of the patient.Gauze bandage and cardboard box.Two boxes. One box in better condition. Red Chain Bandage. Johnson and Johnson Pty Ltd Sydney. 3 inches, 6 yards. Sterilized neat edge.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, "red chain bandage", gauze, bandage, johnson & johnson -
St Kilda Historical Society
Ephemera - Invitation - mayoral dinner, To mark the Festive Season and the end of the Year, 1918 or 1929
Although the name of the Mayor and Mayoress, and the year of the invitation are not stated, the fact that music was provided by 'Miss Gertrude Emily Johnson' provides a possible clue as to the date. Gertrude Emily Johnson (1894-1973), coloratura soprano and theatre administrator, was born on 13 September 1894 at Prahran, Melbourne. She was a student of (Dame) Nellie Melba at the women's singing school that Melba founded at the Albert Street Conservatorium, East Melbourne (later the Melba Memorial Conservatorium). The date specified in the invitation, Thursday 19th December, indicates that the event was either in 1918 or 1929. As Gertrude Johnson moved to London in February 1921 and returned to Australia in 1935, when she retired from her singing career, it appears likely that the invitation to the mayoral dinner was for 19 December 1918. Elsie Fraser would have accompanied her on the piano.Cream coloured card printed in gold and with Christmas bells and holly in green and red, being an invitation for dinner with the Mayor and Mayoress of St KildaTo mark the Festive Season, and the end of the Year, the Mayor and Mayoress of St Kilda would be very pleased if ... will take Dinner with them in the Mayoress' Room, on Thursday, 19th December, at 7pm. Music by Miss Gertrude Johnson and Miss Elsie Fraser. RSVP before 12th December.gertrude johnson, elsie fraser, st kilda council, st kilda mayoral function -
Bendigo Military Museum
Letter - LETTER AND ENVELOPE, Edna Johnson, 10 April 1942
Letter was from a USA family member of a US soldier staying at a private residence in Bendigo. The US soldier was not permitted to communicate with family members as to their location. the Granger family circumvented that by sending a cable to his family and this letter was a reply to them..1) & .2) A4 page typed letter (2 pages) from Edna Johnson to Enid Granger. Black typed writing on cream coloured paper. Address on top and signed off on page 2. .3) Cream coloured envelope, address on front and six stamps. Various black stamps on front and air mail stamp address from written on back. .4) Small newspaper cut out photo of a young girl..1) Address on top - Edgemont Station, Box 241, East St, Louis, Ill, USA, April 10th 1942. .2) Signed "Sincerely Edna Johnson. .1) Address on front, Mrs Enid Granger, 32 Mt Korong Rd, Bendigo, Victoria, Australia.us soldiers, censorship, letter -
Benalla Art Gallery
Painting, Joseph BACKLER, Caroline Johnson (portrait pair), c. 1843
Born: London, Middlesex, England 1813; Arrived: Sydney, New South Wales, Australia 1832; Died: Sydney, New South Wales 1895VictorianBennett Bequest, 1999 Oil on canvas depicting portrait of seated Caroline Johnson in grey dress. Polished timber frame with gold gesso inlayRecto: Not signed, not dated, not titled painting, portrait, colonial, woman, face, dress, flower, figure -
Robin Boyd Foundation
Slide, Robin Boyd, 1964
In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Commonwealth Institute, Kensington, London, UK, 1962. (Architects: Robert Matthew Johnson-Marshall & Partners.)Made in Australia / 36 / AUG 64Mlondon, slide -
Ballarat Heritage Services
Photograph - Image, Amy Johnson, 1930, 06/1930
Black and white photographic image of Amy Johnson, pioneer woman pilot, after her flight to Australia from England. aeroplane, aviation, flight, amy johnson, pioneer pilot, women -
Port Melbourne Historical & Preservation Society
Photograph - Steve Johnson at south end of Clark Street, Port Melbourne, showing Commonwealth Government Engine Works in the background, 1980 - 1989
Probably taken in the 1980sPhotograph of Steve Johnson at south end of Clark Street Port Melbourne, showing Commonwealth Government Engine Works in the background.engineering - roads streets lanes and footpaths, built environment, robin donchi, commonwealth engine works, steve johnson -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Beret
It was the practice of Regimental officers to fix cloth rather than metal unit badges to their field beretsRoyal Australian Armoured Corps black beret with cloth regimental badge of the 4th/19th Prince of Wales's Light Horse Regiment sewn onOutfitter's label (Herbert Johnson) sewn into lining.black beret -
The Ed Muirhead Physics Museum
Photograph, Optical Munitions, with E.R. Johnson
Part of a series entitled “Optical Munitions - School of Natural Philosophy, 1942-1945”. Black and white photo of E.R.Johnson testing fused sandwiched plate glass in a polarimeter. N.B. As at time of writing it is not certain that the “man” pictured in nos. 147 and 149 is the same individual as pictured in no 140. (EGM. 11/11/99)On back of photo in pencil: “No. 20 E.R. Johnson” -
Heidelberg Golf Club
Book, Kew Golf Club, Birdies and billabongs: a history of the Kew Golf Club 1894-1994, 1994
A history of the first 100 years of Kew Golf Club in Belford Road, East Kew, founded in 1894.206 p., illus. (some col.), maps.non-fictionA history of the first 100 years of Kew Golf Club in Belford Road, East Kew, founded in 1894.golf clubs - kew, golf clubs - history, kew golf club -
Rutherglen Historical Society
Microfiche, Births Register Index
small sheet of film 1894 HAUGH J TO 1894 JOHNSON Jbirth, family, register