Tony NANKERVIS A graduate student from the Gippsland Centre for Art and Design (GCAD), Tony Nankervis has been a pioneer of the long wood-fired ceramics technique in Australia. He retired from lecturing at Southern Cross University after working there for 19 years in 2004. He describes his work as 'one-off functional table ware', which includes highly-individualised everyday table items. Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. The wood ash and salts blush the ceramic pieces in the kiln, with finished work taking on the nature of the firing process, which has been described as painting with fire.Two woodfired earthernware cylindrical forms by Tony Nankervis. tony nankervis, woodfire, jan feder memorial collection, jan feder, ceramics, gippsland campus, jan feder memorial ceramics collection, alumni

Timber panels salvaged from the foyer of Forestry House 601 Bourke Street in late1980s. The material for the plaques was assembled in carpenters shop in FCV districts throughout the State. Timber was kiln dried by M. Feiglin & Sons at Nunawading and erected by Peter Danby Pty. Ltd. Two highly decorative panels thought to be carved by Robert Prenzel in about 1908. Closely linked to FCV Forestry House in MelbourneTimber Display PanelTwo highly carved panels thought to carved by Robert Prenzel in about 1908

View looking up Thompson Avenue from The Esplanade. The Chicory Kiln built in 1870, a two storey brick building is adjoined by West's General Store, built in 1869 to cater for the needs of the Settlers. A large Gum Tree and finally houses follow on from these two buildings. In the foreground and to the left, is a small three sided fence and a gracious Gas Lamp on long pole.Cowes looking up Thompson Ave to Chapel Street. 1905Main Street Coweslocal history, photographs, streetscape, cowes, black & white photograph, mary robb

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. The tobacco 'stretcher' was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.The 'stretcher' was used for carrying dry tobacco from kiln to stacking shed and later from stacking shed to the grading benches. 2 tree logs parallel to each other with 2 hessian bags cut into a piece each to overlap down the middle and starched between and held by a plank of wood nailed along at each end. The tree logs are held in position across the middle and behind the hessian by a thick plank of wood.Holes. One piece of hessian has painted in green:- Albury NSW and 5 green rectangles printed on it at the top partly covered by wooden plank.tobacco. mongans bridge. kiewa valley. kiln. shed. parmesan. rossaro. lorenzi brothers.

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.The twine was used to tie green leaf in bunches onto the sticks. There were 26 bunches per stick and 500 sticks per kiln. Spool of tying cotton used on electric sewing machine. With the bailing, the sewing needles were housed on a hook on the top edge (of the tying horse) with the correct length of string at hand - time was of the essence. A large ball of orange, scratchy, twine kept together by a piece of twine wrapped around it.tobacco. mongans bridge. kiewa valley. twine. tying horse.

Photocopy of a newspaper article titled Old battery to charge-up tunnel tourism. There is a photo of a Thompson's Foundry battery which is being re-erected at the site of the North British mine on Parkin's Reef, near Carman's tunnel. The battery was recovered from a deep gully at Bola Creek. Other works include restoration of quartz roasting kilns and cyanide vats. Written at the top of the article is a date 11/1/85.bendigo, history, long gully history group, the long gully history group - old battery to charge-up tunnel tourism, thompson's foundry, parkin's reef reserve, conservation forests and lands department, carman's tunnel, north british mine, carman's tunnel committee, dr doug kemsley, the prospectors' and miners' association of victoria, mr ken garden

Janet MANSFIELD (1934-2013 ) Born Sydney, New South Wales Janet Mansfield studied Ceramics at the National School of Art, East Sydney Technical College in 1964 to 1965. She received a Crafts Board Grants in 1974 to study in the United States of America; to research salt glaze technique in 1975; to exhibit in Japan in 1985; to travel to Hungary fir a symposium, and an Australia-Japan Foundation Grant in 1977 to study in Japan. She was a visiting lecturer to the Gippsland Centre for Art and Design in 1980 and a Spotkanie guest in 1984. Her work was fired to wood kilns and taken to stoneware temperatures. She used salt for shorter firings, or in the anagama kiln depended on the ash and flame for glaze effects. Janet Mansfield has been editor of 'Pottery in Australia' and 'Ceramics: Art and Perception'. In 1987 she was awarded an Order Of Australia Medal for services to art and ceramics. In 1980 Janet Mansfield was a visiting lecturer at the Gippsland Institute of Advanced Education. She was a guest at Spotkanie in 1984.Wheel thrown wood fired and salt-glazed stoneware.jan feder memorial ceramics collection, ceramics, janet mansfield, gippsland campus, visiting lecturer, spotkanie

Greg CROWE (1953- ) Born England, arrived Australia 1963 Greg Crowe's intial training was in architecture. In 1980 Greg Crowe established the Hovea Pottery in the hills east of Perth and am constantly firing up new work there 30 years on.In 2008 Greg Crowe undertook a McKnight Residency for Ceramic Artists at the Northern Clay Center, Minnesota, U.S.A., and has demonstrated and exhibited elsewhere in the U.S.A. and Canada, Japan, France, Denmark, Ireland and Singapore. In 1985 he built a wood-fired salt kiln at Hovea with Fergus Stewart, and has specialised in wood-firing and salt-glazing since then, In 1992 he worked with wood firer Sven Bayer in Devon, UK. In 1996-1998 he built an anagama kiln in the south-west of Western Australia. y Texture and the unique, plastic responsive nature of claygre to stretching has been of great interest to Greg Crowe. Greg Crow signs his work with an impressed 'GC'. Thrown bulbous woodfired pot.greg crowe, ceramics, gippsland campus, jan feder memorial ceramics collection, hovea pottery, woodfire 86

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Parent file of the items in the Viola Annie Ayling collection of 1950s and 60s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), viola ayling, ceramics -- victoria (australia)

Professor Ernest Edgar Kurth of the University of Tasmania, invented a faster, simpler and cleaner way to produce charcoal on a continuous basis during the second world war. The charcoal was used to produce a combustible gas in motor cars, as a substitute for petrol, which was heavily rationed. The first batch of charcoal was produced in February 1942 and continued until the end of the war. Wood from stringybark trees was cut into lengths and fed into a kiln which converted it into charcoal. The Kiln is located on Beenak Road, 7km north of Gembrook. It has great historical significance, particularly as an alternative supplier of fuel during the second world war. It is a State Registered facility, managed by the Friends of Kirth Kiln and the park is managed by Parks Victoria Green soft covered book of 150 pages, with a photo of 2 men and a boy out in the bush with 3 fires burning.Contains a Prelude about Ernest Edgar Kurth written by Alfred Klink (2013) and a Foreward by John Sullivan (Heritage Officer of Parks Victoria). There is an Acknowledgement page, with recognition given to the grant provided by the Department of Sustainability, Environment, Water, Population and Communities. e.e. kurth, kirth kiln, charcoal kiln, parks victoria

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. The frame holding the thermometers was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.Used for monitoring the temperature and humidity in the kiln during the drying process of the tobacco leaf (the thermometer is missing the water holder) 2 thermometers attached to a steel attached to an old rusty tin frame with handle at the top enabling it to be hung, using wire, to hook on the wall. Tin frame has cap on it coming out to protect the thermometers and a base for standing the frame up. 1 thermometer has a hollow piece of material (or cord) strip (125 mm long) attached to the bottom of it.Beside the thermometers is inscribed on steel - the lines for measuring and numbers from 40, 60 (by 20s) up to 240.tobacco. kiewa valley. mongans bridge. wet and dry bulb thermometer. silvano rossaro.

Page 133: "..Studio potters and ceramic artists began settling in this area (Warrandyte) from about 1945.. Meanwhile a group was developing at Cottles Bridge, making their own kick-wheels and kilns and producing pots and models by what often began as a co-operative system, two or more artists co-operating in making each article... Husband and wife teams predominated.. Laycock and Alma Shanahan have been responsible for the now thriving reputation of the "Dunmoochin" pottery.."Black and white photograph reproduced on p131 of 'Pioneers & Painters: One Hundred years of Eltham and its Shire' by Alan Marshall (1971)pioneers and painters, peter laycock, dunmoochin, pottery

Artist StatementGeneral ALL BlurbMEDIUM: Oil on kiln dried redgum. DESCRIPTION: Black, blue and white, wood block, no frame. A realistic depiction of an industrial crane against a predominantly cloud covered sky, the crane is set in the lower centre of the canvas, almost becoming secondary to the sky and cloud which dominate the canvas. The sky set in bright and vibrant blues contrast the darkness of the clouds, ominous and heavy in shades of grey and green the colours seem to reflect the relentless clock of industry. A patch of light behind the crane gives the crane a strong focal point. art, de, fcac, all, emma de clario, clario, marios cafe, marios

``Newspaper clipping from "The Post" 18-5-94 P9 Ringwood Mayor's Column. Cr Margaret Cheevers.Cr. Cheevers hosted a "thank you" function for many volunteers . The Ringwood Blues football team, a team of intellectually disabled people had a member, Damien Kilner, represent Victoria in a state match in Adelaide. A member of the Ringwood Professional Athletic Club, Rodney Lewis, won the 1994 Stawell Gift. Cr Cheevers also thanked many more Ringwood volunteers in all different areas.`

Tim HOLMES Born Wales Tim Holmes first became interested in pottery on a visit to New Zealand in 1969. After returning home he studied at the local art school, then enrolled at the Harrow School of Art in 1973. While there, he was introduced to Gwyn Hanssen Pigott's work, and returned to Australia to help her set up a pottery in Tasmania. He established his own Garden Island Creek Pottery in 1977, and started making wood-fired pottery, digging and milling his own clay. He used a two- chambered kiln, firing raw- glazed domestic stoneware in the first chamber and earthenware garden pots in the second. In 1988, he moved his pottery to the Potter's Croft at Dunalley on the east coast of Tasmania. He and his wife Tammy now run the Potter's Croft as a bed and breakfast with a craft gallery, and he is still making pottery using a wood-fired kiln. Garden Island Creek Pottery had its own impressed stamp, and work may also be impressed 'TH' or incised 'T. Holmes'. Tim Holmes was a visiting visitor to Gippsland Institute of Advanced Education (later Federation University) in 1983. He was a lecturer at 'Woodfire 86'.Woodfired Stoneware Platter tim holmes, ceramics, artwork, jan feder memorial ceramics collection, gippsland campus, artists, woodfire 86, garden island creek pottery

eleven art works in black pen sketches of Bendigo by Jan Neil dated 1972- 1977 156A Bendigo Pottery, Bottle Kiln, Epsom 1972 156B Gold Mines Hotel, Bendigo 1972 156C Bendigo Post Office 1972 156D National Bank 1973 156E Birney Car & Central Deborah Mine 156F Law Courts 1973 156G Law Courts 1980 156H Bendigo Town Hall 1972 156I Shamrock Hotel 1972 156J Fortuna Villa, Chum Street1980 156K Fortuna Villa 1977Jan Neil

Yields information about the opening configuration and early passengers of the tramways in Ballarat, with the Sturt and St Grenville St buildings behind. Shows uniforms and clothing styles.Black and White copy photograph of a Ballarat Municipal library (No. 911) postcard at the time of the opening of the Electric tramway in Ballarat. Tram has destination of Gardens, with four crew/inspector in uniforms, a number of well dressed passengers including ladies and children and some boys at the rear. Shows arrangements of steps lining etc. In the background is the Bucks Head Hotel, a Confectioner (J.M. Kiln?) and other buildings. Photo taken in 1905. Collected by Alan Bradley from the Ballarat Municipal library early 1980's. Used in The Golden City and its Tramways - front covertramways, trams, sturt st, electrification, grenville st, opening

These horse shoes (one a stock horse and one a draft horse) were probably used in the mid 1900's. They have been roughly made suggesting that a professional blacksmith was not instrumental in their manufacture. On smaller or remote cattle stations either the lead stock man or owner would "fire up" the kiln to provide the adjustments required to the horse shoe to ensure a "tight" fit. The larger cattle stations had a "professional" blacksmith to cover all their "working" horses. Larger properties eg.large Northern territory cattle stations use helicopters for "cattle control".These horse shoes are very significant to the Kiewa Valley because of the early introduction of cattle stations in what initially was regarded as a semi remote location. The maintenance of horses hooves is an important requirement, especially during the period when cattle were grazed on the Bogong High Plains. The mustering and and moving cattle from the valley pastures to the high country was a demanding and dangerous exercise requiring "sure footed" stock horses. A scientific study started in 1947 to study the impact of grazing cattle on the natural Alpine and sub Alpine vegetation found grazing cattle had an adverse affect on the natural Alpine and sub alpine vegetation, and grazing on the plains was stopped by the Victorian Government in 2005.This "camp draft" in the High Plains could take up to six weeks.Both these horse shoes have been "roughly" made but are specifically made for the type of horse which wore them. The smaller of the two is for the stock horse/riding horse and the lager one is for the larger draft horse. Each horse type has a specific role to play in the the type of activity it was used for. The small horse shoe has six "nail" holes for attachment to the horse hoof by special nails. The larger shoe has seven "nail" holes. Both have the three quarter moon shape which fits the curvature of the horses hooves. working horses, bogong high plains camp draft, grazing cattle bogong high plains

Alfred Ernest Edwards was born 29/12/1903 in Mitcham and died 4/7/1967 at Forest Hill. he was a kiln worker at Geal's Pottery, Nunawading. Doris Gwendoline was born in 1905 at Surrey Hills and died on 15/3/1996 in a Healesville nursing home. She was 91. When Doris two her father died. Her mother remarried (Finger) and she had two step-sisters. Alfred (Alf) and Doris (Dorrie) had one child, Gwendoline Norma Edwards, born on 3/10/1930 at Forest Hill.Sepia studio photograph of the wedding of Alfred Ernest Edwards and Doris Gwendoline Hodge in 1926. There are nine people in the group. The bride and groom are in the centre; the man on the left is Alfred's brother Theodore and the woman seated on the left is Doris' Half -sister Jean (Finger)edwards, alfred ernest. hodge, doris gwendoline. edwards, theodore. finger, jean

Owen RYE (05.11.1944 - ) Born Cooma, New South Wales Internationally recognised in the field of Ceramics, Owen Rye was a lecturer at the School of Visual Arts, Gippsland Institute of Advanced Education (incorporated into Monash University 1992), 1985-91 and senior Lecturer at the Gippsland Centre for Art and Design, Monash University (later Federation University) from 1992-2003. Proficient in the use of the wood-fired Anagama kilm, the surface of his work is dependant upon the placement of the item in the kiln, with ash glaze developing where ash and embers coat the form. Wheelthrown Anagama [woodfired] stoneware. Jan Feder Memorial Ceramics Collectionjan feder memorial collection, jan feder, owen rye, ceramics, gippsland campus, artwork, artist, gippsland centre for art and design

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade lamp base, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade lamp base, irregularly ridged and with and with the use of green and yellow glazes. The lamp base has a hole for a cord above the foot.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), lamp bases, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade deep dish, glazed in green and maroon. The maroon ground includes a splash of green in the centre of the dish.Signature to base: "V. Ayling" and datedceramics, pakington street -- kew (vic.), dishes, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Moulded dish, with a floral design on the base. The upper part of the dish has a mottled green and black glaze. The petals on the base are highlighted with a deep pink glazeSignature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade dish, with a floral design etched into the glaze. The container has been glazed in brown.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade container, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, lidded container, constructed through coil work, and using the different forms of coiling as a decorative element. The container has been glazed in yellow and green.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), containers, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade oval footed dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, footed oval ceramic dish, covered with a blue glaze. The feet, one of which has been repaired, are created from coils that were then luted to the base.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade globular ceramic vase, fully covered in red with a green overglaze that has been wiped to reveal the floral pattern.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, narrow-necked ceramic vase, with a pink glaze overlaid with painted and dripped cream and green glazes within the ridges.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling

Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic vase, fully covered in red with a green overglaze which has been allowed to run down to the foot. Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling