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The Celtic Club
Book, Paul Gardiner SJ, An extraordinary Australian: Mary MacKillop, 1994
History of Sisters of Saint Joseph of the Sacred Heart.Index, plates, map, ill, p.486.non-fictionHistory of Sisters of Saint Joseph of the Sacred Heart.mary mckillop - 1842-1909, nuns - aistralia - biography -
The Celtic Club
Book, Maryann Gialanella Valiulis, Portrait of a revolutionar : General Richard Mulcahy and the founding of the Irish Free State, 1992
Biography of General Richard Mulcahy, one of the founders of modern Ireland.Index, bib, ill, plates, p.245.non-fictionBiography of General Richard Mulcahy, one of the founders of modern Ireland.richard mulcahy - biography, ireland - politics and government - 20th century -
The Celtic Club
Book, Peg Penberthy, Women in history: Places of purpose, 1994
A collaborative effort between the Australian Institute for Women's Research and Policy and Queensland Historical Association. Includes 'A Walking Tour' of Brisbane city.Maps, plates, ill, bib, p.130.non-fictionA collaborative effort between the Australian Institute for Women's Research and Policy and Queensland Historical Association. Includes 'A Walking Tour' of Brisbane city.brisbane - australia, women - brisbane - history -
The Celtic Club
Book, Anne Marreco, The Rebel Countess: The life and times of Countess Markievicz, 1967
Constance Markievicz, born Gore-Booth, was known in Anglo-Irish society as the Rebel Countess, and to the Dublin poor who loved her as 'Madame'. She is chiefly known for her part in the Easter Rising of 1916, but how she came to be there, what role she played and what happened to her afterwards is a fascinating and strange story.Index, bib, ill, plates. p.295.non-fictionConstance Markievicz, born Gore-Booth, was known in Anglo-Irish society as the Rebel Countess, and to the Dublin poor who loved her as 'Madame'. She is chiefly known for her part in the Easter Rising of 1916, but how she came to be there, what role she played and what happened to her afterwards is a fascinating and strange story.ireland - biography - constance markievicz, ireland - politics and government -
The Celtic Club
Book, Ulick O'Connor, The troubles: The struggle for Irish freedom 1912-1922, 1975
Ulick O'Connor's account of his own and his family involvement in the turbulent and violent events which occurred in Ireland during the period, 1912-1922.Index, plates, ill., bib, p.177.non-fictionUlick O'Connor's account of his own and his family involvement in the turbulent and violent events which occurred in Ireland during the period, 1912-1922.ireland - politics and government, ireland - history 1912-1922 -
Hymettus Cottage & Garden
Award - trophy, Champion Cottage Garden City of Ballaarat 1915 - 1918 trophy
A late Victorian silver and gilt plated trophy.Presented by Cr The Honorable F. Brawn M.L.C. Won by Mr M. Taffe. Years 1915 - 1918. 31/10/18.ballarat, horticulture, garden competition, exhibition -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Domestic object - Silver plate
Silver plate with "AR E& IRS WO" -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Domestic object - Silver plate x 5
Silver plates x 5 with no writing in the centre -
Whitehorse Historical Society Inc.
Photograph - Black and white negative - Whitehorse Road Mitcham c. 1949, Harold Ernest Millane, Whitehorse Road Mitcham, Vic. c. 1949, circa. 1949
This image was one of a series taken by Harold Millane in the late 1940's. They were printed onto post cards. Mary Millane, Harold's wife, printed captions on each negative with Indian ink. The series includes a variety of views of Mitcham, Vermont, Nunawading, Park Orchards and Doncaster East. The post cards were sold as souvenirs in the Millane shop on the N-E corner of Station Street and Whitehorse Road, Mitcham (originally the Mitcham Post Office).Clear photograph showing details of shops, vehicles, streetscape, lighting.Celluloid half plate B + W negative.Whitehorse Road Mitcham, Vic. hardy scott, h. s .beckwith, richards drapers, d. g. williamson, r. gracie, s. kelly, cenotaph, mitcham memorial hall -
Whitehorse Historical Society Inc.
Domestic object - Plate
Oval china plate with pink flower pattern.domestic items, crockery -
Vision Australia
Photograph - Image, Singapore Association of the Visually Handicapped plaque, 1993
To share information and gain first hand knowledge, organisations sometimes undertook study visits to various countries. In appreciation for the hospitality and information gained as part of this, the Singapore Association for the Visually Handicapped presented a commemorative plaque to RVIB.1 plastic stand with engraved brown platePresented to Royal Victorian Institute for the Blind in appreciation of the warm hospitality extended to our official during study visit on 18th-19th October 1993. October 1993 from Singapore Association of the Visually Handicappedroyal victorian institute for the blind, singapore association for the visually handicapped -
Vision Australia
Plaque - Object, Commemorative plaque: Baird, 1962
"This tablet commemorates 17 years of loving service given by Mrs Celeste Baird to the choir and blind members of The Association 1945-1962". She volunteered her time at the Blind Community Centre in Kooyong.1 wooden shield with engraved silver plateThis tablet commemorates 17 years of loving service given by Mrs Celeste Baird to the choir and blind members of The Association 1945-1962association for the blind, celeste baird -
Vision Australia
Award - Object, National Federation of Blind Citizens of Australia award: Hugh Jeffrey, 1994
"National Federation of Blind Citizens of Australia Ltd. NFBCA David Blyth Award 1994. Presented to: Hugh Jeffrey. In appreciation of his outstanding contribution through dedication, tenacity and by example, as a leader of blind people and as an advocate for the rights and responsibilities of citizenship to be accorded to blind people everywhere." Gold coloured disk with NFBCA logo is located above the citation, which is written in Braille on the back of the shield.1 wooden shield with engraved gold plateshugh jeffrey, awards -
Vision Australia
Photograph - Image, Commemorative plaque : Glover
At the top of the shield is a Lions International symbol consisting of two lions heads facing outwards either side of the words 'Lions International' and the letter 'L' in between them. At the base of the shield is a blue and gold coloured badge, consisting of two rifles crossed in front of the RVIB lighthouse, with the words 'Royal Victorian Institute for the Blind Rifle Club' around the outside. Between the two symbols is engraved "In memory of the late George Glover Past President-Lions Club of Bennettswood - Patron and Life Member of the R.V.I.B. Rifle Club. George developed and donated equipment in order that the blind may enjoy rifle shooting and compete with others. His work done will continue to serve." In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. Passionate about the sport, Mr Glover continued work and supporting the club until his death in 1977.1 wooden shield with engraved silver plategeorge glover, rvib rifle club -
Bendigo Historical Society Inc.
Accessory - FOB CHAIN
Nickel plated fob chain for pocket watch.horology, watches -
Bendigo Historical Society Inc.
Domestic Object - ELECTRIC IRON
Chrome plated electric iron with wooden handle.domestic equipment, laundering, iron -
Bendigo Historical Society Inc.
Domestic Object - SILVER PLATE FORK & SPOON
Pair of silver plate for and spoon in Kings pattern.WH & S B Fdomestic equipment, table setting, cutlery -
Bendigo Historical Society Inc.
Tool - LYDIA CHANCELLOR COLLECTION. HANDCUFFS
2 pairs silver plated handcuffs with keys.+hiattephemera, mementoes, handcuffs, lydia chancellor, collection, handcuffs, crime, prisoners, law -
Melbourne Tram Museum
Photograph - Set of 3 Black & White Photograph/s, Melbourne & Metropolitan Tramways Board (MMTB), 1970's?
Series of three photos showing pyramid or rerailing plates and how they were used. Appears to be photographed at Preston Works shops during the 1970's. .1 - Fabricated plate with an angle welded to it, showing how it was positioned relative to a derailed wheel. .2 - Photo shows a pyramid plate placed relative to a wheel and axle set. .3 - ditto relative to an fabricated angle plate.trams, tramways, derailments, accidents, preston workshops, recovery -
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 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Cruet Set, William Hutton & Sons, Circa 1900
William Hutton & Sons were manufacturing silversmiths founded in 1800 in Birmingham with company transferring to Sheffield in 1832. William Hutton had established the firm and with the move to Sheffield, they also became platers having licensed the electroplating technique from the firm of Elkington's. This gave them much early success in the field of electroplating. William's son William Carr Hutton continued the business after his father's death using the same business name until 1864 it was then changed to William Hutton & Son when William Carr's son Herbert Hutton joined him. When William Carr died in 1865, the firm name was again changed to William Hutton & Sons when Herbert's brothers (James & Robert) joined the company. They opened a London showroom in Holborn in 1863 which they moved to Farringdon Road, in 1891 operating until 1918. Hutton's had developed a new nickel alloy that was good for plating and in the late 1800s becoming known as British Plate. They sent their machine-made silver flatware from Sheffield to be hallmarked in London. Hutton's went on to acquire Rupert Favell & Co in 1893 and also registered as a limited company as William Hutton & Sons Ltd in 1902. The Hutton's had also bought Creswick & Co and had started to use their crossed arrows trademark. Hutton's became renowned for the quality of their Arts & Crafts silverware items at the turn of the 19th and 20th centuries. In 1930 Hutton's were taken over by James Dixon & Sons. A significant item that was made around the time electroplating was being developed as a means of producing quality utilitarian items in quantity for domestic use that we're able to be purchased by working-class people.Cruet set of silver plated frame with upright handle protruding from tray base. Holds 5 containers of varying shape and size; 3 have metal lids. Inscription is on the base. Some containers have contents in them.On base "WMH&S" and "01548" etc.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cruet set, condiments set, kitchen ware, electroplate, britannia metal, w m hutton -
Geelong RSL Sub Branch
Plaque - HMAS Sydney FFG 03, July 1991
The HMAS Sydney FFG 03 was an Adelaide-class guided-missile frigate of the Royal Australia Navy. She was constructed in the United States of America and was launched in 1980. The Sydney was commissioned on 29 January 1983 and decommissioned on 07 November 2015.The HMAS Sydney was commissioned to the Royal Australian Navy and has been involved in responses in Fiji and Bougainville, she was also deployed to the Persian Gulf on five occasions to support US Gulf War operations.A stained wooden plaque with an etched picture of the Sydney and the ships motto 'Thorough and Ready' on a plate attached to the wooden plaque, there is also a presentation plate attached to the plaque.HMAS Sydney FFG 03 Presented to Geelong RSL by HMAS Sydney 13 July 1991hmas sydney, ffg 03, adelaide class frigate, ran, -
Federation University Historical Collection
Book - Japanese Art Book, The Floral Art of Japan, 1899
Green hard bound book 14 Coloured Plates are ink impressed from original woodblocks Ballarat Technical Art School Library book platenon-fictionfloral, arrangement, flowers, illustrations, japanese, artists, flora, ballarat technical art school library, josiah conder, japan, kimono, arrrangement -
Flagstaff Hill Maritime Museum and Village
Plate
Previous number PWO 0358.Plate Shard, china dinner plate segment with scalloped rim, floral arrangement with Asiatic Pheasant design, crazing. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plate, loch ard, asiatic pheasant design -
Orbost & District Historical Society
cruet, circa 1900
This item is an example of a common piece of tableware used in the early part of the 20th century.Square silver plate tray with four glass containers. Two have silver lids and two have glass stoppers. Electro plated nickel silver.Bottom of tray- EPNS 6493cruet silver-plate tray epns tableware -
Friends of Kurth Kiln
Scraper, Mid 1940s
perhaps used to rake out chacoal from kilnFormed Steel Rake or Scraper, a half-round steel plate rivetted to a short shaped steel arm. Rounded side of steel plate is ground to an edge -
Uniting Church Archives - Synod of Victoria
Equipment - Printing block
The Rev Charles Kingston Daws was president (1957) of the Victoria and Tasmania Conference, and president-general (1969-72) of the Methodist Church of Australasia. Two metal printing plates in a buff "Spectator Publishing" envelope which has ink handwriting on the front. G138.1 and G138.2 printing plates. G138.3 envelope.On envelope: "C. K. Daws Original Block Church Crest Do not use Hold for making Electros or Sterios"rev c k daws, methodist church of australasia, methodist minister, president of conference -
Flagstaff Hill Maritime Museum and Village
Block
2 sheave wood block with metal plate and eye. Metal plate has inscription relating to maker. "Tateno Seisakusho Co Ltd, Yokohama, Japan"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Bendigo Military Museum
Souvenir - SIGN
Home made sign of emblem of 3rd Division.Dark blue metal plate. Attached to plate on one side is a sticker with emblem of 3rd Division on a flag background of horizontal red, blue and red stripes.Sticker has crossed swords with jumping kangaroo overlaid and a crown above. Other side has painted No's "234".passchendaele barracks trust collection, sign -
Stanley Athenaeum & Public Room
Award - Trophy, Beechworth Table Tennis Association Trophy
Silver plated - mounted on bakelite base. One engraved plate 6cmx3.5cm. Handles each side of cup. Cup with thin stem and 7 cm base.1962 Harlequins. 1963 T.P. Demons. Donated by Stanley Table tennis for AZ Group 1961.Won by Bruarong. Maker - Marquis 'MBM' p3.