Showing 6942 items
matching plate
-
Whitehorse Historical Society Inc.
Domestic object - Plate
Oval china plate with pink flower pattern.domestic items, crockery -
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 -
Ballarat Clarendon College
Shield
Shield presented in 1939 and awarded to winning house at the annual CPLC Inter-House Athletics competition; Awarded 1939 - 1950. A note in Touchstone December 1939 p.9 reads, 'House rivalry was greatly stimulated on Sports' Day by the gift of the Bevan John Shield. The shield is made of rosewood with silver plates attached, on which is to be inscribed the name of the winning house. Also, each year, an enamel band of the colour of the victorious house is to be placed round the silver plate. We are very grateful to Mr John for his generous and much appreciated gift. A second shield was established in 1951 (see VC000355)Rosewood shield with ornate silver title plates and 15 silver inscribed plates;Inscribed on large central plate: CLARENDON / PRESBYTERIAN / LADIES COLLEGE / INTER-HOUSE / ATHLETICS Inscribed on scroll plate at top of shield: THE BEVAN A JOHN SHIELD bevan-a-john, clarendon-presbyterian-ladies-college, inter-house-competitions, athletics -
Seaworks Maritime Museum
Plate
Large ceremonial plate featuring inscription and image of a ship"Presented to/ Melbourne Harbor Trust/ By the owners of/ M.V. "Anro Asia"/ On the occasion of her/ inaugural call/ 1978" verso "Selangor Pewter/ Malaysia- Singapore" "PMA 0379" -
Bright & District Historical Society operating the Bright Museum
Plate
Reconstructed, complete dinner plate with a fern leaf design." The letter "D"dinner plate, tableware, ceramic, buckland valley, aldo gios -
Whitehorse Historical Society Inc.
Domestic object - Plate
White china plate with lilac and green decoration on border.domestic items, crockery -
Whitehorse Historical Society Inc.
Domestic object - Plate
Oval white porcelain plate with dark blue edge.domestic items, crockery -
Mont De Lancey
Plate, 1982
Round Wedgwood plate commemorating the birth of Prince William in 1982"Royal Birth 1982"commemorative plates -
Glenelg Shire Council Cultural Collection
Functional object - Plate, n.d
White china plate, gold lustre trip and floral design.Back: 'MADE IN JAPAN' -black -
Seaworks Maritime Museum
Plate, Ant Masuda Arts
Blue plate with gold rim featuring design of American families boarding a steam ship in Yokohama, Japan from smaller ships. Reverse features a circular rim of fold anchors inside of which is text in Japanese and English and an image of a ship."1996/ Yokohama" on reverse: "The 8th series of YOKOHAMA UKIYOE/ "American Families Boarding Large Steamship in Yokohama"/ by Gountei Sadahide, 1865 (Genji 1)/ The Steamship drawn in Ukiyoe is not American ship./ However, it is believed he based upon illustrations/ from the Western newspapers which depict her maiden voyage./ Plate number 585/ Ants (r) / Hand Decorated / Masuda Arts/ Yokohama Motomachi" "PMA 0152/1" -
Federation University Historical Collection
Document - Document - Design, E J Barker: University of Melbourne: Bachelor of Mechanical Engineering; Civil Engineering 1 and 1A; Design of Welded Plate Girder, 1946
Assessment No 2 Project was to design a welded plate girder required in a building to span between two steel columns which have to be spaced 60 feet centre to centre. It needs to carry its own weight plus specified loads. This was part of Civil Engineering 1A . Jack chose to do Engineering while still at Footscray Technical School as it gave access to Diploma Courses and tertiary studies. This enabled him to enter the University of Melbourne and do a Bachelor in Mechanical Engineering - 1945, 1946, and 1947. In 1948 he did a Diploma in Education at Melbourne University. From this path he was able to follow a career in teaching and his first appointment was at the School of Mines in Ballarat, (SMB) 1949. He became the first Vice Principal of SMB in 1960 and then Principal in 1964 to 1976. From 1976 to his retirement in 1987, he was the Foundation Director of Ballarat College of Advanced Education (BCAE). The Library building at Mount Helen Campus is named after him.Manila folder with design assessment. Written descriptions and detailed drawings.e j barker, jack barker, melbourne university, engineering, diploma of mechanical engineering, diploma of electrical engineering, school of mines ballarat, smb, diploma in education, vice principal, principal, foundation director, ballarat college of advanced education, bcae, bachelor of mechanical engineering, library, mount helen campus, engineering drawing, design, specifications, manufacture, civil engineering, welded plate girder, 60 feet, steel columns -
Seaworks Maritime Museum
Plate
Plate with Korean illustration of field and mountains. Featuring Korean and English writing."KOREA MARITIME AND PORT ADMINISTRATION" on reverse: "PMA 0145/1" -
Orbost & District Historical Society
plate, late 19th century
English blue and white plate. Floral design border and plain centre.Back -Worcester E.F.A. & Son -Bodley & Sonplate domestic crockery china bodley -
Whitehorse Historical Society Inc.
Domestic object - Plate
White porcelain bread and butter plate with gold and dark blue border265 (in gold on back)domestic items, crockery -
Anglesea and District Historical Society
Plate, Crown Ducal, 1954
Souvenir Queen Elizabeth 2 plate. Transfer printed head of monarch in centre of plate (sepia tone). Royal blue border with gold floral design on top. Some scratch marks - evidence of use.Back: Made Specially / By / Crown Ducal / Made in / England / to / Commemorate / Royal Tour Australia 1954 / Made in / England / A.G.R.queen elizabeth 2, royal tour australia 1954, crown ducal -
Orbost & District Historical Society
plate, first half 20th century
Small blue and white porcelain plate. Blue and white floral design on border.plate domestic crockery china -
Orbost & District Historical Society
plate, Myott, Son & Co
This item is an example of early 20th century Staffordshire pottery.Medium sized plate. Decorated in black and white Chinese floral and house design.Back-Indiana Myott Son & Co Englandplate domestic crockery china myott -
Seaworks Maritime Museum
Plate, Port of Hamburg
Memorial plate commemorating the port of Hamburg featuring image of castle superimposed on anchor"Port of Hamburg/ 775 Years/ 1189-1964" "PMA 0163" -
Mont De Lancey
Plate
Grey Decorative Plate with embossed pattern of tree. Has twisted edging (chipped)plates -
Mont De Lancey
Plate
Gift to Wandin Historical Museum from Mrs. H.N. Lord and Miss D.A. Sebire.Round Wedgwood plate commemorating the Wedding of the Prince and Princess of Wales, July 1981."Royal Wedding July 1981" -
Seaworks Maritime Museum
Plate
Yellow plate depicting two birds in flight. Reverse side is black with gold writing.on reverse: "Presented to/ THE PORT OF MELBOURNE/ in Commemoration of/ THE 10TH ANIVERSARY/ OF/ THE TRADE COOPERATION AGREEMENT/ by/ THE PORT OF YOKOHAMA/ May 1996" Sticker with printed writing: "Presented to MPC Chairman, Mr Tony Hodgson, by the Deputy Mayor of Yokohama, Mr Susumu/ Ogura to commemorate the 10th Anniversary of/ the Trade Co-operation Agreement between the/ ports of Yokohama and Melbourne- May 1996" Sticker written with pen: "WMA 34" Writing with white pen: "PMA 0154/1" -
Mont De Lancey
Plate, Royal Victoria Pottery
Owned by the Burgi family.Ceramic plate with gold painted rim, burgundy edge and an illustration of a band and woman on a seat."Royal Victoria Pottery Made in England" "C. Burgi" in felt pen on the back.plates -
Mont De Lancey
Plate
Cutty Sark is the world’s only surviving extreme clipper. Launched on 22 November 1869 in Dumbarton, Scotland, it embarked on its maiden voyage from London to Shanghai on 16 February 1870.Small white plate with black photo of the "Cutty Sark 1869" in dry berth at Greenwich.plates, ships, sailing ships -
Mont De Lancey
Plate, 1902
Owned by the Late Hilda Sebire as a child.Round white china plate commemorating the Coronation of King Edward V11 and Queen Alexandra."Coronation King Edward V11. Queen Alexandra. 26 June 1902" -
Horsham Regional Art Gallery
Painting, Carl PLATE, Figure study, 1957
Gift of Mack Jost, 1991 -
Tatura Irrigation & Wartime Camps Museum
Tea Service, Phoenix Plate Australia, 1925
Wedding present to Mr and Mrs W. T. MartinSilver tea port, jug and sugar bowl. Gift to the then Rodney Shire Secretary on occasion of his marriage by Councillors in 1925.Presented by Rodney Shire Council to Mr and Mrs W. T. Martin on the occasion of their marriage 4 August 1925. EPNS made in Australia. warranted hard soldered. -
Otway Districts Historical Society
Memorabilia - Trophy, Plate Craft, Otway Tennis Association, B grade Junior Premiers, c.1962
Trophy. Otway Tennis Association, B Grade Junior Premiers. An EPAINS lidded-cup with handles on a round bakelite base, with the names of winning teams from 1963/64, 1975/76, and 1982/83 to 1987/88 inclusive.1963/64 Beech Forest B 1975/76 Lavers Hill 1982/83 Johanna 1983/84 Carlisle River 1984/85 Lavers Hill 1985/86 Lavers Hill 1986/87 Wyelangtatennis, otway tennis association, lavers hill, beech forest, johanna, carlisle river, wyelangta -
NMIT (Northern Melbourne Institute of TAFE)
Trophy: Collingwood Technical School 1933, Boomerang Plate, Silver trophy from Victorian Technical Schools Sports Union 1933
Silver cup trophy from the Victorian Amateur Boxing & Wrestling Association for the Annual Boxing Championships won by Collingwood Technical School in 1933. Also won by Collingwood in 1934, 1939, 1942, 1943, 1944, 1945, 1946, 1947. METROPOLITAN DISTRICT / of the / Victorian Technical Schools Sports Union / CHAMPIONSHIP CUP / for the school winning the greatest number of events / at the / ANNUAL BOXING CHAMPIONSHIPS / Presented by the Victorian Amateur Boxing & Wrestling Assn / 1933’ On back is a list of winners from 1933 to 1950 includes Brighton, Prahran, South Melbourne, Essendon, Oakleigh, Brunswick. collingwood technical school, trophies, boxing championship trophy 1933, students, nmit, -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Award - Trophy, The Bruche Cup
6th Battalion was forerunner for the 5th/6th BattalionPresented to the city of melbourne regiment by its honorary Colonel and The chief of the General staffSilver bowl shaped trophy with ornate handles THE BRUCHE CUP FOR INTER PLATOON COMPETITION 6TH BATTALION (CITY OF MELBOURNE REGIMENT) Presented by MAJOR GENERAL J.H. Bruche, C.B, C.M.G Chief of General Staff Honorary Colonel of the Regiment 5/6 rvr, regimental property, trophy, 6th battalion, city of melbourne regiment, inter platoon competion -
Flagstaff Hill Maritime Museum and Village
Ceramic - Plate, before March 1878
This Asiatic Pheasant china dinner plate was salvaged from the wreck of the " Loch Ard". The design on the plate was popular in the late 1800's and early 1900's. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Dinner plate, white ceramic with scalloped rim, white china with blue transfer "Asiatic Pheasant" design. Inscription on underside. Recovered from the wreck of the Loch Ard.Mark on underside"-HEE-- " [within a flower pattern cartouche].flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, china plate, asiatic pheasant, dinnerwear, crockery, table setting