Hollow glass ball featuring depiction of Asian port with ships in the river. Sitting on round wooden baseOn ball: Chinese writing "PMA 0167/1" on base: "PMA 0167/2"

Set of three cotton doilies, possibly hand made in the 1950s for domestic use. Doilies like this were used to protect furniture from scratches and for ornamental use.3 round doilies (small ornamental mats), cream cotton fabric centre with hand crochet design.doilies, soft furnishings, table linens

Set of three cotton doilies, possibly hand made in the 1950s for domestic use. Doilies like this were used to protect furniture from scratches and for ornamental use.3 round doilies (small ornamental mats), cream cotton fabric centre with hand crochet design.doilies, soft furnishings, table linens

Displayed in History House.Round board with print of town coat of arms affixed. Measures in diameter 71.2cm x Depth of 0.6cm

There are four tankards in this collection. Each tankard has three pictures pertaining to a specific conflict - WW1, WW2, Korean War and Vietnam War.The pictures show particular battles per conflict.The Official RSL Tankard Collection, four tankards, round, white, ceramic with three pictures per tankard.Made by Franklin Mint Pty Ltd 1983.military, tankard, world wars.

A Replica Ice Bucket of 1st Bn Argyll & Sutherland Highlanders (Princess Louise's). There is a list of conflicts on the front of the Ice Bucket that this Regiment has been involved in. The Regiment has been amalgamated and renamed several times. As of July 2012 they are known as Balaklava Company, 5 SCOTS (A&SH), Royal Regiment of Scotland.This Regiment was created in 1881 and served during WW1 and WW2, an active battalion served in Korea 1950-51 and Aden during 1967.A round shape Replica Ice Bucket various colours predominately yellow looks like a drum of the corps.1st Bn The Argyll & Sutherland Highlanders (Princess Louise's) Korea 1950-51argyll & sutherland highlanders, princess louise's, scotland, ww1, ww2

This Australian Service Medal was issued to 32692 C M Muir who served during WW2 as a Sergeant? with the RAAF.This is the original Medal belonging to 32692 C M Muir who served with the RAAF during WW2.Australian Service Medal 1939-1945, silver, round. The ribbon attached is that of the War Medal 1939-194532692 C M Muir.asm, ww2, 32692 c m muir, raaf

This object was used a shield to slide brass button through to enable them to be polished.They were a common object for those who wore military type uniforms with metal buttons The item belonged to John T Sizeland who was a member of the Warrnambool Urban Fire Brigade from 1940 through to 1977.This is an object which was commonly used by those in the military and those who wore uniforms with brass buttons. This item has strong provenance having belonged to John Sizeland who was a member of the Warrnambool Fire Brigade for over 30 years and was donated along with a number of associated fire brigade items. Long horse shoeshaped piece of copper with narrow slice three quarters through with rounded notch at the end.J Sizeland hammered into one end.warrnambool, button cleaner/protector, button cleaning shield, brass button, john t sizeland, brass button cleaning

tall(ish) round brown glass bottle with white screw cap. Contains semi-viscous liquidLabel Paper: GLYCERINE. J McGloin Pty Ltd, Manufacturing Chemists. Sydney Melbourne Adelaide

Was used to keep Japanese gold paint and was sold like this. Label is missing.Cylindrical gold paint container - Japanese. Small round tan wooden - red to brown. Label is missing.container domestic japanese-gold-paint

Round china teapot with yellow/orange background colour. Blue,pink and purple rose on front and back.bottom-............pottery, Johnson.....(unreadable)teapot domestic-items food-drink-consumption johnson

This doily was handmade by Penuel Cameron (nee Hossack). The Hossack family farmed land on the Marlo Road. Like the Camerons they were staunch Presbyterians. Robert Cameron was one of earliest settlers on Orbost flats and ran the paddlesteamer "Cheviot". He served many years on shire council and built the first Presbyterian. church in Orbost.This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Hand tatted medium sized doily. Small round linen piece in centre and large tatted border.doily handcrafts needlework linen lace cameron-robert

Donated and presumably owned by Mrs Ivor ThompsonThis item has aesthetic value.A large piece of white coral within a glass display dome. The display sits on a round wooden base. ornament-coral

A round silver badge with four leaf-type attachments, with a cross in centre, sitting on a bar with coiled ends.education, school, morongo, geelong, girls, boarding, presbyterian, uniting, history, badges, private-girls-school, 1920-1994, kindergarten-year-12, sint-lucernae-ardentes, lucy shaw, gertrude pratt, dulcie brookshaw

During 1941-43 it was considered imminent that Japan's army may attempt to invade Australia. Anticipating Japanese air and submarine attacks, blackout restrictions were introduced and air raid warning instructions issued. This air-raid siren was installed on the roof of the G.P. Motors (originally Winchester & Rodwell Garage) during World War 2. This item reflect our past. World War II continues to evoke strong memories. Items which were part of this time are reminders of the local community's involvement.An air raid siren on a round base. It has a brass trumpet and a handle attached to pull from the ground.On base - MAX-DIA -422,15mm PLATE 10 HOLES J. WIPFLI GATIC AUSTRALIA MANUFACTURER DIES TOOLS PLASTICS MELBOURNEww11 air-raid-siren communications military

This knife was found in a drawer from the estate of Judy Walcott who died in 2016 in Orbost. The Dicken Bros, shop is in the main street of Orbost . Frank B. Dicken and his son, Selwyn, were General Merchants. Frank and May Dicken moved to Orbost in 1936 where Frank became manager of Pardew Brothers store in Nicholson Street. In 1945, Frank purchased the business and in 1947, formed a partnership with his son, Selwyn. The store was then called F.B. Dicken and Son. The premise are still retained by the Dicken family although the shop business was sold in 1981. (ref. In Times Gone By - Deborah Hall) This item is an example of an item produced for advertising and promotion. The Dicken General Merchandising business is no longer an Orbost feature.A bone handled butter knife with an inscription on one side of the blade. Handle is a cream bone with a rounded end. Stainless Steel Made in Sheffield Expressly fo F.B. Dicken & Son ORBOST

A round gold medal with the features of King George V1 and Queen Elizabeth and on the back is Victoria's "Coat of Arms".Along with the faces of King George V1 and Queen Elizabeth are the words "KING GEORGE V1 & QUEEN ELIZABETH", on the front of the medal, on the back is Victoria's "Coat of Arms", with the words "TO COMMEMORATE THEIR MAJESTIES CORONATION. MAY 12th 1937.

Purchased at a sale by Laurie Gunnulson and donated to the museum. Round wooden bowl with lid; small flat knob on lid. Remains of shaving soap inside the bowl.YARDLEY SHAVING SOAP, 35 Bond St, LONDON; Printed in England (paper label on lid); MADE IN ENGLAND (imprinted on base)

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 milk jug is part of the collection of items given into the care of the Cheese World Museum. Uebergang catalogue No.H557 Tall white round china jug with a 'Blue Willow' pattern. The handle has a 'twisted rope' design.H557allansford, uebergang, jugs, food and drink consumption, containers, willow pattern

A candlestick holder is a device used to hold a candle in place. Candlesticks have a cup or a spike ("pricket") or both to keep the candle in place. Before the proliferation of electricity, candles were carried between rooms using a chamber stick, a short candlestick with a pan to catch dripping wax. Although electric lighting has phased out candles in much of the world, candlesticks and candelabras are still used in homes as decorative elements or to add atmosphere on special occasions. An item used in every home that did not have electricity from the late 19th to early 20th centuries as a lighting aid.Candlestick is round, hollowed scalloped edge to base. Coated with white enamel it features a large ring handle. Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, candle stick holder, candle holder, enameled candle stick holder

This cast iron weight was made in England by Jabez and John Whitehouse ironfounders of Tipton and who founded the company in 1848. J. Whitehouse owned and operated the Phoenix Foundry, in Castle Street, Tipton, Staffordshire, England. The Whitehouse family at the Phoenix Foundry produced cast-iron goods including this weight from the mid 1800s until the early 1900s. John Whitehouse died in 1893.An item made by one of the many ironfounders that operated foundries in the West Midlands of England giving a snapshot into the history of making cast iron objects at a time before plastics and other modern materials when most utilitarian items were made of cast iron by ironfounders.Weight, metal, 14 pound or 1 stone weight with a lifting handle. Three round indentations underneath."Whitehouse" inscribed at one end, "14" at the other flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, weight, stone weight, weights and measures, j & j whitehouse, phoenix foundry, tipton uk, cast iron weight

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