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Ringwood and District Historical Society
Photograph, Invitation from the Ringwood Historical Research Group on 26th October 1974. From the Ellie Pullin MBE and members of the RHRG to Mrs G Horman. To unveil the plaque in remembrance of Ringwood Pioneers and Orchardists at the garden of Ringwood Library by the Mayor Cr SC Morris JP
Invitation from the Ringwood Historical Research Group on 26th October 1974. From the Ellie Pullin MBE and members of the RHRG to Mrs G Horman. To unveil the plaque in remembrance of Ringwood Pioneers and Orchardists at the garden of Ringwood Library by the Mayor Cr SC Morris JP. All material is from Gwen Horman’s three albums that she owned. -
Moorabbin Air Museum
Equipment (Item) - RAF Type - G Oxygen Mask WW2
6D/644 -
Melbourne Tram Museum
Document - Notebook, Bob Lilburn, sale of MMTB trams - R, U, S, P, W, G, H, J, and Q class, 1970's
Set of hand written notes recording date of sale of MMTB trams - R, U, S, P, W, G, H, J, and Q class and sometimes the sold location. Notebook - pocket size, wire spiral bound, listing trams sold by the MMTB up to the mid 1970's and similar for Ballarat and Geelong cars.trams, tramways, sale of trams, mmtb, notebooks, personal papers -
Ringwood and District Historical Society
Photograph, Maroondah Highway West, Ringwood, c1970. New showroom of H. G. McLean Motors
Black and white photographTyped on backing sheet, "Something new in Ringwood's night scenery - the glamorous new showroom of H. G. McLean Motors, in Whitehorse Road, West end, Ringwood." -
Warrnambool and District Historical Society Inc.
Label, G CINQUEGRANA, Early 20th century
Guiseppe Cinquegrana's umbrella and parasol shop was a prominent one in Liebig Street for over 40 years. He came to Warrnambool about 1890.This label is of some significance as it concerns an umbrella business and this is the only one we know that was ever in Warrnambool.Rectangular white label with purple text, decorative border and lines adhered to a piece of pink cardFROM G. CINQUEGRANA Umbrella and Parasol Manufacturer. The Cheapest and Most Durable Umbrellas in Victoria. Re-covering from 2s. 6d. LIEBIG ST., WARRNAMBOOL Modern Print, Warrnamboolumbrellas, parasols, warrnambool, guiseppe cinquegrana, cinquegrana -
Ringwood and District Historical Society
Photograph, 1950 - Parish Hall Xmas Party, Church of England, Ringwood Street, Ringwood. Attendees included Mrs. J. Mason (partly obscured), Mrs. Gray, Mrs. McCrae Snr., Mr. and Mrs. G. Williams
Typed below photograph, "1950 - Parish Hall Xmas Party. Just seen Mrs. J. Mason, Mrs. Gray, Mrs. McCrae Snr., Mr. and Mrs. G. Williams". -
Ringwood and District Historical Society
Photograph, Invitation from the Ringwood Council of the City of Ringwood on 22nd October 1974. From the Mayor Cr S Morris JP and the Councillors to Mrs G Horman. Official launch of the "Place of Many Eagles" by KAR Horn BA Mus B State Librarian at the Civic Centre, Maroondah Highway, Ringwood
Invitation from the Ringwood Council of the City of Ringwood on 22nd October 1974. From the Mayor Cr S Morris JP and the Councillors to Mrs G Horman. Official launch of the "Place of Many Eagles" by KAR Horn BA Mus B State Librarian at the Civic Centre, Maroondah Highway, Ringwood. All material is from Gwen Horman’s three albums that she owned. -
Whitehorse Historical Society Inc.
Photograph - Photography, Mitcham RSL Life Members 1964, 1964
Photo taken at 1964 A G M of Mitcham R S L Life members at the timePhotograph of Mitcham R S L Life Members in 1964 Frank Fisher, Charles H Honybun, Cec. A. G. Johnson, Alec C. Cook, Les G. StaceyMitcham R S L Life Members in 1964 Frank Fisher, Charles H Honybun, Cec. A. G. Johnson, Alec C. Cook, Les G. Staceyphotography, photographs / slides / film -
Flagstaff Hill Maritime Museum and Village
Book - Novel, H Rider Haggard, author, Heart of The World, 1894
H. Rider Haggard (1856-1925) (Sir H. Rider Haggard), a British author, wrote fiction and non-fiction works and had letters and articles published in newspapers and journals. His novel, Heart of the World, was an adventure set in Mexico. This book is part of the Pattison Collection at Flagstaff Hill. The book was published in 1895 by the British firm George G Harrap & Co. Ltd. of London, a firm that specialised in high-quality publishing with many of the books containing fine line drawings.The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.Heart of The World Author: H Rider Haggard (Sir H. Rider Haggard) Publisher: George G Harrap & Co. Ltd. Date: 1894 The red hardcover book has gold embossed lettering on the spine and cover. The Fly page has a logo of flying horse, it also has inscriptions on a label and stickers. This book is part of the Pattison Collection.Label "PAT FIC HAG" Sticker: "Warrnambool Public Library" covered by a sticker "Corangamite Regional Library Service" Inscription: "1300" Logo: [Flying horse or winged horse]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, george g. harrap and company, h rider haggard, 1985 novel, sir h. rider haggard, heart of the world, fiction, adventure, 1894, flying horse logo, winged horse logo -
Warrnambool and District Historical Society Inc.
Clothing, G. Wardrop, Tailor, Button, Early 20th century
This button has come from an item of clothing made by George Wardrop, a well-known Victorian tailor who was apprenticed to a Mr J. Jones in Smith Street Collingwood in the late 19th century. George Wardrop was a partner in the Jones firm for seven years before opening his own tailoring business in Collingwood and later in Northcote. The business expanded, with a major store in Melbourne established in the 1930s, (Wardrops, My Tailor) and other stores opening in suburban and regional areas in Victoria. The business lasted until the early 1970s. This button is of interest as it was found in a Warrnambool garden and perhaps came from an item of clothing owned by a local resident and purchased from a Wardrop tailoring shop early in the 20th century.This is a round buff-coloured button with an eyelet and printing around the button edge. The item is slightly bent and discoloured.‘G. Wardrop Collingwood’wardrop, tailor -
Uniting Church Archives - Synod of Victoria
Photograph, Rev G F Brookes, Undated
Rev G F Brookes was ordained in 1968 in NSW, his first ministry was Bulli 1967-1968, followed by Cooma-Bombala 1969-1972, Kempsey- Gladstone 1973, OD Indonesia Kupang 1974-1977. He returned to NSW in 1978 when he went to Armidale where he stayed until 1985. He then joined the Commission for Mission from 1986 to October 1998, and Lakemba 11/1998.B&W head and shoulders photo of Rev. G.F. Brookes, wearing coat and tie.rev g f brookes, uca commission for mission -
Mont De Lancey
Tool - Pig Scraper, F G Pearson & Co, circa 1914
Used in the 19th century. Pigs were often raised for meat for the family. The scraper was used to remove the bristles from the carcass.A curved metal straight bladed pig scraper used to remove the bristles from a pig's carcass. It has a hook on the top edge to remove the nails from the pig's trotters. It has a short wooden handle attached to the metal on the blade with three rivets. There are two slashers near the flail. On the left is the brand 'Pearson 2532' circa 1914 Made by F G Pearson & Co, Sheffield, Right side (est 1859) Right: brand is indistinct. Used in the 19th century.On the left is the brand 'Pearson 2532' circa 1914 Made by F G Pearson & Co, Sheffield, Right side (est 1859) Right: brand is indistinct.farm equipment, farm tools, pigs, farm -
Mission to Seafarers Victoria
Print - Engraving, In the anxious hours of waiting, 1916-1917
For Trafalgar Day, 20 October 1914, the Archbishop of Canterbury in England had "drawn up a new form of private prayer to be offered up specially for the sailors of the Fleets in the present crisis. He suggested its use particularly at noon as a silent prayer, when those at work may be reminded by the ringing of the " Angelus" bell to lift up their hearts to the Lord. The prayer was as follow: "O Thou that slumberest not nor sleepest, protect, we pray Thee, our sailors from the hidden perils of the sea, from the snares and assaults of the enemy. In the anxious hours of waiting, steady and support those on whom the burdens of responsibility lies heavily, and grant that in dangers often, watching often, in weariness often, they may serve Thee with a quiet mind, through Jesus Christ our Lord. Amen.” The prayer illustrated by English artist G.M. Langley became popular. Prints were sold as gift for 7/9 each with an oak frame. As mentioned in the ' Quarterly Jottings from our log" no 47 midwinter 1917: the etching was gifted to the Mission for display in the new Chapel by the Godfrey sisters. The frame was gifted by their cousin's wife, Mrs William Scott Purves Godfrey ( ' Quarterly Jottings from our log" no 48 Michaelmas 1917).The print was gifted by the Misses Godfrey, influential and long term members and supporters of the Ladies Harbour Light Guild. At the time of the completion of the St Peter's Chapel in September 1917, it was dedicated to the memory of all merchant seamen serving in the long war. The print subject, of the sailor guarded by Jesus was no doubt intended to inspire faith and hope but also acknowledges and reflects the anxious days of waiting not only of the sailors and seafarers negotiating the dangerous waters and oceans but also the challenge for families, experiencing the widespread anxieties of a world at war. Wood framed and glazed engraved print of Jesus Christ with sailor in the foreground and printed inscription on mount belowSignature of artist lower left of print.: G M Langley Printed on mount at lower right: "In the Anxious hours of waiting"g.m. langley, prints, engravings, merchant seamen, seafarers, ww1, godfrey family, ethel augusta godfrey, frederica godfrey, first world war, great war, mrs william scott purves godfrey, rica godfrey, rita godfrey, artwork-paintings -
Ringwood and District Historical Society
Photograph, Invitation to "Back to Ringwood" from the Ringwood Council of the City of Ringwood on Saturday 19th October 1974. From the Mayor Cr S Morris JP and the Councillors to Mrs G Horman. Official opening of the Golden Jubilee Celebrations of Ringwood's serverance from Lillydale Shire by the Hon AJ Hunt MLC, Minister for Local Government and Planning
Invitation to "Back to Ringwood" from the Ringwood Council of the City of Ringwood on Saturday 19th October 1974. From the Mayor Cr S Morris JP and the Councillors to Mrs G Horman. Official opening of the Golden Jubilee Celebrations of Ringwood's serverance from Lillydale Shire by the Hon AJ Hunt MLC, Minister for Local Government and Planning. All material is from Gwen Horman’s three albums that she owned. -
Ringwood and District Historical Society
Photograph, Invitation to the proclamation of Ringwood as a City on 19th March 1960 at Ringwood Town Hall by His Excellency General Sir Reginald Alexander Dallas Brooks KCB KCMG KCVO DSO K St J. From the Mayor Cr AG Lavis Councillors to Cr RC Horman and Mrs G Horman
Invitation to the proclamation of Ringwood as a City on 19th March 1960 at Ringwood Town Hall by His Excellency General Sir Reginald Alexander Dallas Brooks KCB KCMG KCVO DSO K St J. From the Mayor Cr AG Lavis Councillors to Cr RC Horman and Mrs G Horman. Includes minutes of the Council meeting. All material is from Gwen Horman’s three albums that she owned. -
Kiewa Valley Historical Society
Whistle Penny, circa 1950s
This item is a cheap Penny Whistle made in Thailand Circa 1955. The item was one of the first wave of imports from the growing Asian steel producers. This was an era where cheaper Asia based steel companies did not compete against the stronger, and well established Australian ones. This Penny Whistle was "roughly" made and possibly purchased by the Victorian Education Department for use in school bands and music classes. Schools within the Kiewa Valley would have used them to integrate students the fundamentals of reading music and playing basic musical scores. Later conversion from steel to plastics would have been more conducive to multiple users in a classroom environment (more hygienic and rust proof.This item shows how the "cheaper" invasion of all types of manufactured goods from the Asian regions have altered the purchasing patterns of rural Australians(the more traditional consumer). The cost imbalance of purchasing from "The Mother Country (England)" or European supply versus the Asian manufacturers was due to not only the financial pressures post World War II but also in the elimination of Tariff restrictions placed on non favoured suppliers.This tin Penny Whistle is made from rolled tin(steel), cylindrical in shape, with a wooden Fipple plug at the mouth end and six note holes starting half way down the front side evenly spaced and ending 35mm from the bottom. This whistle is in the key of D"G steel & Co. D"music, wind instruments, whistle, celtic music -
Lilydale RSL Sub Branch
Book, Ralph G Proctor, Aim High -' PROC'S JOURNEY', 2005
Life Stories and Events by Ralph G ProctorBooknon-fictionLife Stories and Events by Ralph G Proctor -
Bendigo Military Museum
Equipment - PROTRACTOR, SQUARE
Item re Frederick Gardner DAVEY DFC No 410533. Refer Reg No 3536P for his service details. Used in map reading & air navigation. .1) Square green coloured card pocket for storing protractor / rule. Instructions for using the protractor / rule printed on reverse of pocket. .2) Combined protractor & rule. Square clear plastic with degrees markings around the outer edge. North marked in red. Centre area gridded in one centimeter squares..1) Printed on front: W & G DOUGLAS COMBINED PROTRACTOR AND PARALLEL RULE .2) Handwritten in pencil on back: 410533 DAVEY F.G.navigation, maps, equipment -
Moorabbin Air Museum
Machine - Miles Messenger 2A VH-AVQ (G-AJKG)
Historical Details: The AARG aircraft was built by Miles Aircraft (Northern Ireland) Ltd as a production Messenger 2A model in April 1947 and registered as G-AJKG in the UK where it flew with a number of private owners before being sold in May 1953 to the Right Honourable R.. Description: The Miles Messenger was built in England from 1942 on as a liaison aircraft for the Royal Air Force. At the end of the Second World War production continued for the civilian market. A number of Miles Messengers were imported into Australia, including t. Level of Importance: National -
Wangaratta RSL Sub Branch
Framed photograph and Medals, L/Cpl. Neville G Rose
Service medals issued to VX95196 - 3/400050 Private Neville George ROSE born 17/5/1926 at Coburg. He served with the 3rd Battalion RAR from 28/9/1950 to 30/10/1950 a total of 33 days when he was killed in action in Korea aged 24 years. Military service records currently closed. Timber frame with maroon felt mount containing photograph of soldier, eight medals with attached ribbons two metal badges and plaque.VX95196 - 3/400050 L/Cpl. Neville G. Rose 2/5th Battalion 2nd A.I.F 1st New Guinea Inft. BN 3rd Royal Aust. Regiment Killed in Action Korea 30/10/1950neville g rose, korea, 2/5th battalion 2nd a.i.f., 3rd rar, killed in action -
Glenelg Shire Council Cultural Collection
Domestic object - Printed Metal Match Box Cover, G & G (A/ASIA) LTD>, c. 1931
Promotional metal matchbox cover for the Club Hotel Portland. Green Border, cream panels centre front, back and side, with gold fancy border. Text & graphics in black.Front: G & G (A/Asia) Ltd. Picture of a face - smiling underneath "This man drinks Richmond Beer" Turn up other way Face is frowning, underneath "This man wishes he had" Back: 1931 Calendar Side Strike the Club Hotel for a good spot ( J.R. Sullivan Prop) Portland -
Puffing Billy Railway
Side Tipping Wagon - W. G. Allen & Sons (Tipton) Ltd
Built by W. G. Allen & Sons (Tipton) Ltd., Tipton, Staffordshire, England. This vehicle was used on the construction of dams, etc., and the Jindivick tunnel at Tarago in Gippsland for the state Rivers & Water Supply Commission of Victoria. The small wheel located on the side ran up a suitably located ramp automatically tipping the hopper and emptying the contents. Historic - Industrial Narrow Gauge Railway - side tipping wagon used by the State Rivers & Water Supply Commission of Victoria - Jindivick tunnel at Tarago, Victoria, AustraliaSide Tipping Wagon made of Iron, steel and wrought ironpuffing billy railway, pbr, side tipping wagon - w. g. allen & sons (tipton) ltd, puffing billy, side tipping wagon, w. g. allen & sons (tipton) ltd, jindivick tunnel, state rivers & water supply commission of victoria -
Surrey Hills Historical Society Collection
Folder of real estate advertisements, Folders of real estate advertisements (Streets beginning with G), Various
A4 folders with individual pockets for each property in streets beginning with G located in Surrey Hills and Mont Albert. Folders are ordered by street name and then chronologically by property number. Each property has its own pocket. This may include multiple real estate advertisements collected from sales over time. It may also include copies of any research undertaken by Alan Holt and / or members of the SHNCHC team. These are augmented by cards in the Alan Holt index file and by his property registers of Surrey Hills and Mont Albert.gawler court, george street, gilbert street, gladstone street, glendale street, godfrey court, goodwood street, gordon street, grace court, graham street, grange street, griffin close, grovedale road, guildford road -
Ringwood and District Historical Society
Photograph, 1950 - Parish Hall Xmas Party, Church of England, Ringwood Street, Ringwood. Mrs. Caughey, Mrs. McCrae Senr. Mr. and Mrs. G. Williams, Mr. John McCrae, Mrs. M. McCall, Mrs. McWilliam, Mrs. Dedman, Mrs. Win Leslie, Director
Typed below photograph, "1950 - Parish Hall Xmas Party. Mrs. Caughey, Mrs. McCrae Senr. Mr. and Mrs. G. Williams, Mr. John McCrae, Mrs. M. McCall, Mrs. McWilliam, Mrs. Dedman, Mrs. Win Leslie, Director". -
Port Melbourne Historical & Preservation Society
Map, G S Williams, City Engineer, City of Port Melbourne, Dec 1963
Map of City of Port Melbourne (brick areas marked in colour), 1963.G. S. Williams (City Engineer)town planning, g s williams, troedel and cooper -
Tatura Irrigation & Wartime Camps Museum
Photograph - original, G. Haire photographer, 1946
Original photograph of grades V1 and V11 Tatura state School No. 1441. Copy L0253Black and white photograph of Tatura State School Group No. 1441. Original photographon back: Photographers name "G. Haire" -
Stawell Historical Society Inc
Map, G C Birch Mining Surveyor, Magdala Cum Moonlight Co. Plan of Stawell Goldfield, c1900
Shows Sloanes & Scotchmans Coy AreaShowing underground drives. c1900G C Birch Mining Surveyor mining, gold, map -
Phillip Island and District Historical Society Inc.
Sketch
One of a collection of over 400 sketches & photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandSketch Map of Westernport region and environs showing physiographical faults and warps. Drawn by Dr G Bakerlocal history, illustrations, pen & ink, westernport region, black & white sketch, physiography, dr g baker, e s hill d.sc, john jenner, bryant west -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Bowl, J & G Meakin
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