Originally this six part teaching model was used and owned by the former Queen Victoria Womens' Hospital, Lonsdale/ Swanston Streets, Melbourne. With the amalgamation of hospitals, the models were transferred to the Monash Medical Centre, Clayton.Placenta with attached umbilical cord, uterus still enlarged. Painted plaster. The birth process in six stages; fifth of six models.teaching aid, obstetric delivery

Originally this teaching model belonged to Prince Henry's hospitla library and was transferred to the Monash Medical Centre, Clayton in the 1970s by Sister Gertrude Berger, a famous nurse-educator, who is best known for her work leading up to the transfer of nursing education in Victoria from hospitals to universities in 1986.Gerty (as she was known in the School of Nursing) bought them in Europe in the late 1940s and early 1950s . Has labels on base of stand. "Model 6A Female Pelvis on Stnd". AU 618.1/ 01 FemaleModel of female uterus with partial cross-section, vagina, fillopian tubes and ovaries. Painted plaster with label "AV618.1 / 01 Female".teaching model anatomy, female uterus

Accompanying letter from the donor and grandson, Bob Wilson.Made by a German Prisoner of War while imprisoned at Murchison POW Camp, and given to one of his guards, thereby showing the good relationship between prisoners and guards.Six sided brown container with lid made of plaster of paris. Depicting plant life, one small flower appears to be a disguised swastika. Inside lid is engraved a printed Murchison"/1941 TR.murchison pow camp 13., german pow.

Sculpture was made by a personal friend of the subject in the mid 1940's and displayed in the home of the subject's son, John B. Crosbie until 2001. Bernard Crosbie (subject) was the nephew of Michael Loeman, former Shire of Bulla President and owner of 'Glen Loeman'. Bernard Crosbie and his brother inherited Glen Loeman from Michael Loeman.Bust of a man, Bernard Michael Crosbie, President of Bulla Shire 1936-1937. Made from plaster of Paris (?) painted metallic brown.crosbie, bernard michael, shire presidents, shire of bulla, loeman, michael, glen loeman, houses, george evans collection

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract painting in mixed media including plaster on canvas. If you can provide information on this artist or artwork please use the email link below.art, artwork, horsham campus art collection, horsham available, abstract

Date made March 1997.Colour photograph of an internal view of the partly demolished Prince Regent Theatre. It shows the framework of the roof, and part of the plaster wall. Lakes Entrance Victoriacinema, buildings

Tool used to carry plaster sheets on the ledge at the bottom.A handmade tool used locally.Metal tool with heart shaped handle and spade shaped base with right angled edge on the bottom. Weld join near bottom. Painted in silver. plaster sheet carrier, plaster tool

Walking calliper for use with a plaster of paris leg castThis item is an example of an early medical aid used at Orbost Hospital.Walking calliper - small metal frameBottom-underneath - Dunlop, Aust 1 7/8-1 7/8calliper medicine-nursing orbost-hospital

ContextualA good example of patient art/craftwork 32 Chess Set Pieces (16 Gold, 16 Silver) Moulded in Plaster of Paris (from rubber moulds) Some pieces with green felt on basepatient art, chess, games, recreation, therapy

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 is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic

Plaster model of The 'Beauty' Nugget found at Kangaroo Gully Bendigo in 1858 nine feet below the surface. Weight 242 ozs. (See additional Research)mining, models, plaster model of victorian gold nugget

Made by POW at Dhurringile Internment Camp, Tatura.Green painted plaster cast wall hanging of Dhurringile (mansion) Internment Camp Tatura. Shows the mansion, a hand to the left and trees on right. wording on bottom.Kdhurringile, plaque, pow

Statement printed on pink paper with black printing from Kerang Plaster Sheet Co. Pty. Ltd., Fitzroy Street, Kerang. Date line ends 193-.business, printers, cambridge press, cambridge press collection, kerang plaster sheet co pty ltd

Originally this six part teaching model was used and owned by the former Queen Victoria Womens' Hospital, Lonsdale/ Swanston Streets, Melbourne. With the amalgamation of hospitals, the models were transferred to the Monash Medical Centre, Clayton.Placenta with attached umbilical cord, uterus smaller, cervix more contracted. [end of series]. Painted plaster. The birth process in six stages;sixth of six models.teaching aid, obstetric delivery

Pair of cream chalkware busts of small girl with frilled neckline & rosette on shoulder.E.Cavelli 1922ornaments, plaster, bust

"It has been decided by the managing body of St. John's Church of England to erect a war memorial to commemorate the thirty brave men of the congregation who have given their lives at the front, and the 98 men whom they expect to welcome home again. The memorial will cost from £250 to £300 to complete in its entirety, and active steps have been taken to raise the amount amongst the members and adherents of the church. ... The sanctuary panels will be placed on each side of the altar, and will become the permanent Honor Roll by having the names of the soldiers and nurses who enlisted from the congregation inscribed thereon.The whole scheme when completed will be a noble monument to the loyalty, response to duty, and self-sacrifice of the members of the church who enlisted, and will in years to come remind the worshippers of the response of the young members of the congregation to the call of our Empire in her great need. (Camperdown Chronicle, 20 March 1919) LocationPhotograph of a timber World War One Honour Board at St John's Anglican Church, Colac. Plaster 'Station of the Cross' on either side of the honour board are by Mattei brothers. st john's colac, colac, world war one, world war one honour board, mattei brothers

Golden head and shoulder bust of a mythical discoverer of Australia, Sir Samuel Moggs. Made of plaster on a metal pipe was originally on a concrete base with a nearby rough cairn of brickslNonesamuel mogg, mogg's creek

The frieze was made around 1938 and salvaged from demolition in 1970s. It had been held by Bill Thackray, former City Engineer Port Melbourne, and donated to PMHPS in 2010. There were several of these friezes around the walls of the auditorium of the Port Melbourne Town Hall. It seems that some were a mirror image of this frieze.Art Deco style plaster frieze (1938) from Port Melbourne Town Hall auditorium. Salvaged from demolition in the 1970s and set in wooden frame. Image is of ship.port melbourne town hall, built environment - civic, transport - shipping

Round plaster mould of an octagonal design depicting two lovers. This mould corresponds to the left earring of a pair held in the Powerhouse Museum: object registration 2005/258/1-3Nonematcham skipper, mould, jewellery, nude, lovers

Plaster doll (head, arms, feet). Stuffed body. Off-white dress with laced adorned bonnet. Paint on face is faded and cracked. Boots are broken. Blonde coloured hair is matted toys. children, presents, doll, plaster

Baby Doll, 4-9cm, plaster, sleeping eyes.1. Doll. 2. Hand knitted dress. 3. Bonnet. 4. Booties. 5. Singlet. 6. Panties knitted by Society Member.toys, dolls

Pair of painted, handsculpted ceramic figures. (.1) male figure holding tennis racquet and (.2) female figure holding racquet. Both wearing ca. 1900 clothing. Materials: Plaster, Pigmenttennis

Bates' Salve has been used as a home remedy for the treatment of boils, skin infections, splinters, pimples and insect bites for decades, from the mid-1800s to the mid-1900s. It is a drawing application for bringing out foreign bodies and pusses from a wound. There are still many families who remember using it and others who have been using it and are down to their last ‘inch’. One comment from a reader from Queensland tells how his Dad was a sleeper cutter in the 1950s and on school holidays his brother and he used to help their Dad. When doing this task after a wet season they would be confronted with spear grass about a metre high. Sometimes the spears would enter their skin, and when the spears were wet they would screw like a corkscrew into their flesh. If they left them for too long it was impossible to dig them out with a needle. That's when the Bates Salve was put into action to draw the spearhead out. "It worked wonders. It was a marvellous invention." Many people say that they would love to be able to purchase more of it today and hope that someone will produce a ‘safe’ version of it. There are several versions of a recipe for the salve available online. It appears that the salve is named after Daisy Bates, wife of the Bates’ Salve proprietor, William Usher. William’s son Victor continued making Bates’ Salve well into the mid-1900s, with the business being carried on by Victor’s only son, Alan. There are still descendants in the family home in Norwood, Adelaide. William’s great-grandchild has stated that, despite being subject to the salve during childhood, there have been no noticeable ill effects. A small notice in the Adelaide Advertiser in 1915 made a suggestion “It is said that Bates’ Salve is the popular line with OUR BOYS in Gallipoli. They recently sent to the Adelaide Red Cross for a supply, so it would be a good line to put in soldiers’ Christmas Billies.“ Over 700 ‘Christmas Billies’ were sent from generous Warrnambool citizens to our soldiers in the trenches in Gallipoli. The average cost of filling a billy with gifts was Ten Shillings, calculated at about Fifty-four Dollars in 2021. The contents included Christmas puddings and tobacco. The huge project was coordinated by a local Committee and involved generous businesses and hundreds of kind-hearted community members, with recognition sown by naming many of those involved in an article in the Warrnambool Standard. The project’s idea was initiated by Australia’s Department of Defence and all states were involved in supporting the soldiers in this way. Mr Bates (Theopholis) of Hull, England, was the original owner of the Bates’ Salve recipe. When he died he left his business to William Usher, his son-in-law. William arrived in South Australia in 1851 after he had sold his recipe to an English firm, giving them the rights to make and sell it all over the world, except in Australia. Bates then became the registered proprietor of Bates’ Salve for the Commonwealth and still had a large market for his product. William Usher made the salve at his Norwood home, in a wood-fired copper in the garden within a three-sided enclosure. The ointment was then taken to a room in the house where it was divided, labelled and packaged. It was then sent to Faulding’s Wholesale Chemist for distribution. William and his wife May (or Mary) had three children; Jack, Victor and Ivy. When May died, William married Mary Williams (May’s maid, from Tasmania, twenty years younger than William) and had seven more children. The treatment’s packaging labels it as a POISON. It seems that its active ingredient was lead oxide (22 per cent), which is no longer considered unsafe. A member of the public mentioned that in 2016 they found some Bates’ Salve in an old family medicine chest. Its label stated that the product “contains a minimum of 25.8 per cent of red lead oxide”. That particular sample was made at 470 Wallon Road, West Molesey, Surrey, England. Some people would love to be able to use the product still and even take the risk of poisoning. Instructions for its use are included on the wrapper. Here is a transcription - "Bates' Salve. Bee Brand. POISON. This Preparation contains 22 parts per centum [lead oxide]… Made by Descendants of the Inventor and Original Proprietor. For use as a medicated plaster. Melt over a slight flame or use a heated knife to spread the salve on a piece of linen. If away from a joint it will not need tying as, when put on lukewarm, the plaster will hold itself. When the salve adheres to the skin moisten it with oil and wipe it off with a dry cloth. Manufactured by the direct descendants of the inventor and the original proprietor since 1833."This package of Bates' Salve has been used as a home remedy since the mod-1800s and even up to now in 2019 by those who consider themselves lucky to still have some at home. It was promoted as a 'cure all' treatment and kept handy for use at home and away. It represents our early industry and health management when medical treatment was often difficult to access. The product is the part of many childhood memories of those alive today.Bates’ Salve ointment; oblong stick of firm, brown waxy substance wrapped in waxed paper, with an outer printed wrapper. Text on wrapper warns that it is POISON and includes instructions for use as a medicated plaster, to be heated and spread onto linen then applied to the injury. Made by Bates & Co., Adelaide. The wrapper shows an emblem of a bee. The formula has been used since 1833.Text on wrapper includes "POISO[N]", "BATES' SALVE", "BEE BRAND", "BATES & CO., ADELAIDE". "This Preparation contains 22 parts per centum [lead oxide]" There is an emblem of a bee with wings outstretched.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bates’ salve, bates’ salve medicated plaster, bates and co adelaide, bee brand, medicated plaster, medical treatment, remedy, drawing treatment for infection, medicine cabinet, home remedy, pharmacy treatment, mid 1800s – mid 1900s remedy, topical application, treatment for boils, bites, splinters and infections, poison, preparation for treatment, ointment

This figurine of the drapery store owner himself, Oliver Gilpin, also represents the many similar figurines used within his chain stores to display hats and ties. in 1951, the Gilpin business and chain was purchased by G.J. Coles & Co. Ltd.Heavy, painted plaster figurine of man in grey coloured three-piece business suit. Head is of larger proportion, cigar end inserted in mouth. Approximately 15cm x 15 cm x 50cm.O. GILPIN / SPECIALoliver gilpin, drapery store owner, 1895, korumburra, gippsland, figurine

Self-promotional local newspaper calendar by Ringwood Mail - Printing of Every Kind. Head Office: Adelaide Street, Ringwood. Tel. Ringwood 65.H.A. Girdwood - Fibro-plaster work of all kinds, Ringwood and Boronia, Telephone 159. Victorian Fruit Trading & Export Pty. Ltd., Adelaide Street Ringwood, Telephone Ringwood 242.

This jar of ointment belonged to Doris Orr, mother of the donor. Families used these patent medicines which were often purchased from a door to door salesman, the 'Rawleigh's man', on his regular round to country homes.Rawleigh's patent medicines were in common use in homes and this is a typical example.A brown jar of Rawleigh's ointment with a green and white label and brown metal lid with the brand name in raised lettering.Rawleigh's [on lid]; Rawleigh's Compound Mustard ointment/Will not blister/Preferable to Mustard plaster/The W.T. Rawleigh Co Ltd Melbourne/Registered under The Health (Patent Medicines) Act 1942 [label]allansford, w.t. rawleigh & co, mustard ointment, pharmaceuticals