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Ringwood and District Historical Society
Photograph, Main Street Ringwood, looking east late 1940's
Black and white photograph of Main Street, Ringwood. Clock tower in background in original position. (2 copies) Catalogue card reads, "Whitehorse Rd. looking east - south side 1935. Station entrance just past Carter's on right". Looking East from Whitehorse Rd, not 1935, late 1940s?, 2 copiesTyped below photograph, "Main St. Looking East. Railway Station entrance on right past Carter's - 1935". Small, original print has Main St c1949" written on back. -
Ringwood and District Historical Society
Photograph, Ringwood Fire Brigade "New" Station 1930's
Black and white photograph of firemen on cart outside brick building. (2 copies)Written on backing sheet, "Ringwood Fire Brigade New Station. 1. Sam Brown, 2. Les Jones, 3 Clarance Burns, 4. Jack Wilkins, 5. Frank King (Station Officer), 6. Dave Anderson, 7. George Burns, 8. Percy Griffen". Writing on backing sheet of second photo states photo taken in 1930s. -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club- Miles Avenue, c1950's
Black and white photograph.Ringwood Bowls Club, Miles Avenue, c1950. Bowlers on green. -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club- Members outside clubrooms, c1947
Black and white photograph (2 copies)"Written on back of one of the photographs," L to R: 1. Joe Archbold, 2. J. Roberts, 3. B. Tann, 4. W. Bamford, 5. C. Palmer, 6. J. Tancoe, 7. G. Young, 8. S. Hunt, 9. Horace Dowsing, 10. T. Roberts, 11. G. Cox". Year c1947. -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club - Mens Bowls, c1950's
... Road Ringwood North melbourne Ringwood Bowling Club. c1950's ...Black and white photographRingwood Bowling Club. c1950's. -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club- Green Opening Day, 1960. Mrs. S. E. Dickens, wife of the club president throwing the kitty, 15/09/1960
Black and white photograph"Written on back of photograph" Mrs. S. E. Dickens, wife of Club President throwing the kitty. Mail 15/9/1960. -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club - Ladies Bowling, Miles Avenue. c1970's
Black and white photographNil -
Ringwood and District Historical Society
Photograph, St. Marys Catholic Church Ball, 1937, Ringwood Town Hall
Written above and below photograph of backing, 'St. Marys Catholic Church Ball, 10.8.37. Ringwood Town Hall. President Mrs. Bruce(?), Joint S??? Miss L. Madden, ???? Leo Pratt, Rev. Father O'Toole'. Catalogue card reads, 'Front row No.5 Louie Madden, No.9 Lorene Hunt (white dress), Dorrie Matlock (floral dress). Can identify Des Lindsay, Jack Delahunty, Lance Lane, Sonsie Madden but unable to pinpoint location.' -
Orbost & District Historical Society
T shirt, RANDA, C 1987
This T shirt was sold as a souvenir of Orbost in the 1980's -1990's.This item was made for the tourism industry in Orbost.A short sleeved, round-neck white T shirt with a cartoon captioned "Where the hell is..." There is a kangaroo with an echidna and next to a signpost with a koala climbing up the pole and a kookaburra sitting on the top. Beneath this is "Orbost Vic" clothing souvenir tourism -
Orbost & District Historical Society
photographs, mid 20th century
Samuel Lynn (1865-1949) was a farmer and grazier at Jarrahmond. He bred Clydesdales. The 13th Light Horse Regiment was formed at Broadmeadows in Victoria in March 1915; it was the third light horse regiment to have been raised in that state. Its regimental number quickly led to it becoming known as the "Devil's Own" regiment. It left Australia on 28 May and disembarked in Egypt on 29 June 1915. Horses have always been an important part of Orbost's history.A laminated set of photographs on cardboard. it is an arrangement of black / white photocopies posibly for a magazine or display. The photos are of local horses, local people and include Mr S. Lynn, A. Mosely and Orbost No 2 troop 13th Light Horse.photographs-horses lynn-samuel mosely 13th-light-horse -
Orbost & District Historical Society
riding costume, first half 20th century
This outfit was worn for competitive riding by Nancy Bland in 1930's.A woman's riding costume. It consists of a brown felt cap (2524.1); a long-sleeved, hand-made black lined coat made of serge with two black buttons and two pockets (2524.2); a cotton cloth badge with "MLC" inside an eight-pointed star pinned to the coat (2524.3); a gold tie clasp with a horse and rider jumping through a horseshoe (2524.4); a black silk tie (2524.6); a hand-made black and white herringbone patterned waistcoat, lined with blue striped silk material (2524.7); a pair of light brown jodhpur style riding breeches with patching on the inside of legs (2524.8); a pair of black leather calf high riding boots with leather soles (2524.9 and 2524.10).2524.6 - "LOWES" 2524.8 - "Rankine & Dorrs Melbourne ARMY STORES REG"equestrian horses jodhpurs outfit-riding bland-nancy -
Orbost & District Historical Society
souvenir, C 1980's
Used as a souvenir of Orbost possibly made and distributed through the Slab Hut (Orbost Visitor Information Centre) in 1980's 1990's.The souvenir is an important component of the tourist experience with most tourists bringing back mementos and souvenirs as evidence. Fridge magnets are popular as souvenir and promotional items because they are relatively cheap to manufacture and very portable for tourists. This item is an example of a typical souvenir of Orbost. A white plastic souvenir bottle top opener possibly a fridge magnet. It is an elongated rectangular shape pointed at one end. It has a corkscrew embedde on one face with a screw top bottle opener on the other face. There is an image of the Slab Hut (Orbost Visitor In formation Centre) with "SLAB HUT ORBOST VIC" in brown print. A small magnet is embedded.souvenir-orbost -
Orbost & District Historical Society
exhibitors' information, Snowy River Mail as "Mail" Print, 1975
This was created for the annual Orbost Show 1975. It provides information to potential exhibitors. The first meeting to form an Agricultural society in Orbost was convened by the then Orbost Progress Association and held in the Mechanics Hall on Saturday, 10th October 1891. Its first show was held on 3rd March 1904...on a site alongside the Bonang Road where the present Golf Club stands. It is currently held at the Recreation Reserve at Newmerella. Ref: In Times Gone By-Deborah HallThis item is associated with the Orbost Agricultural Society 's Annual Show which has been a major event in Orbost for over a century. Agricultural shows are an important part of cultural life in small country towns and the Orbost Show is an integral part of Orbost 's agricultural history.A six fold sheet of white paper with information on categories for the Orbost Annual Show, March 10th 1975. Tet is black print.orbost-show -
Learmonth and District Historical Society Inc.
Photo - Kane, Possibly Drummond Studios, Kane.K.S.( Mr).Shire Secretary,1959
Mr. K.S.Lane was Shire Secretary for the Ballarat Shire Council in 1959.This forms part of a composite collection of photos presented by the Shire Preident,to commemorate the opening of the Wendouree Municiple Centreon 20th November 1959. Original Historical Photo of all Councilors for the year 1959Mr.K.S. Lane,(Shire Secretary).Sepia photo (rectangular) on white mount,situated left hand side of middle row,of composite photo of all councilors for the year 1959. Shire President Charles Edward,"Ted" Brown and councilors,commemorating opening of Wendouree Municiple Centre 20th November 1959.wendouree municiple centre opening 20th november 1959, ballarat shire council, lane k s mr, shire secretary 1959 -
Learmonth and District Historical Society Inc.
Photo - Wedding,Goad/Taylor, Richards & Co, Wedding of Gertude Jane Goad and Walter Taylor, 09/04/1921
On 9th April 1921 Gertrude Jane Goad Married Walter Taylor at St Andrew's Kirk, Presbyterian Church Ballarat.The best man was Walter's brother George Taylor and the bridesmaid Ada Hannah Grigg. Gertrude Jane Goad and Walter Taylor lived in Dean,and are buried in the Creswick Cemetary. The Goad family have long connections in the Learmonth area.Black and white photo of the marriage of Gertrude Jane Goad to Walter Taylor.Set in Gold frame 4 1/2 cms wide and decorated with trailing flowers, originally on cream mount now redone with maroon mount. Richards & Co. Ballarat.ballarat, church, goad gertrude jane, taylor walter, st andrew s kirk, prebyterian -
Australian National Surfing Museum
Programme, Rex 'China' Gilbert - Memorial Day - 6th November 2010, 01/11/2010
This Memorial Booklet was put together by family, friends and members of the Torquay Surf Life Saving Club for a special memorial service held at the club on Saturday 6th November, 2010. 'China' Gilbert was a popular member of the surf club who passed away from ill health in Torquay on 28th September, 2010. The booklet contains a mixture of tributes, black and white and colour photographs of 'China' from his youth through to modern times highlighting his activities at the Torquay Surf Life Saving Club and a pioneer surfer in the 1940's and 1950's.This booklet is significant because it commemorates the memory of one of the oldest and most popular members of the Torquay Surf Life Saving Club. The booklet contains historic and rare photographic images of 'China' from his earliest days as a young surfer through to his time as a competitor for the Torquay Surf Life Saving Club and finally senior club member. 'China' was known around Australia for his surfing, mateship and 'larrikin' streak. Over 500 people attended his memorial service and paddle out at the Torquay Surf Life Saving Club.24 page full colour booklet with a photo of 'China' Gilbert on the cover holding a bright yellow Quiksilver surfboard. 'China' signature and graphic of a tree.rex china gilbert, china, torquay surf life saving club, longboard, 1956 melbourne olympics, torquay surf beach -
Australian National Surfing Museum
Photograph, Unknown, Surfboat at Bondi Beach 1923
Surfboats have played an important role in saving lives on Australian beaches since the early 1900's. This boat at the famous Bondi Beach can be seen riding a wave to the beach with the standard five man crew. Many early Australian surfers were members of Surf Life Saving Clubs regularly riding the waves in surfboats, surf ski's and other surf rescue craft.Rare image of an Australian surfboat riding a wave at one of Australia's most iconic surf beaches in Sydney during the 1920's.Black and white photograph'Donated by John Pettigrove' on the backsydney, bondi beach, surfboat, surf life saving clubs -
Learmonth and District Historical Society Inc.
Photo - Davey's Hotel, Davey's Hotel,Miners Rest, "circa 1916 - 17"
Davey's Hotel at Miners Rest was built sometime around 1850, and Mary Tait was the original Licensee.The gentleman on the white horse is Harry Telford, who was with Phar Lap in America when the horse died.Names of the other men are not known. The photo is dated "circa 1916 -17" and originally came from a lady in New Zealand.The Hotel was de-licensed in 1940. Mary Tait (nee Marion Sutherland) was the second wife of William Tait, who was the licensee of the Derby prior to his death 7 October 1862.His widow Mary the took over the license of the hotel.Photo shows lifestyle of the 1850's.Black and white photo depicting Davey's Hotel in Miners Rest with some of the locals.Davey's Hotel / Derby Hotel.miners rest 1850, davey's hotel, harry telford, mary tait licencee -
Flagstaff Hill Maritime Museum and Village
Painting - Vessel, C.K.M. (artist), S.S. Warrnambool, 1883
This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m. -
Flagstaff Hill Maritime Museum and Village
Book - Reference, Samuel Taylor Coleridge et al, Coleridge's Rime of the Ancient Mariner, 1863
This book includes the classic poem ‘Rime of the Ancient Mariner’ by Samuel Taylor Coleridge, the lines of which are set out in twelve pages of double columns. Each section of the poem is titled, such as 'Part the Sixth'. The twenty lithographed line drawings by J. Noel Paton RSA illustrate major events of the story and repeat the applicable verse below them. Most of the drawings have the initials of the artist and the lithographer on the bottom corners, below which are printed their names. The margins of the poem contain printed author's notes. Interestingly, the printer's name is added as a footnote on page 12, at the end of the poem. The book is included in the Rare Books collection of Flagstaff Hill. Its description closely matches one of two copies of the book held by the British Museum. There have been other publications of Coleridge’s poem over the years, based on various editions of his poem and illustrated by other artists. When this book was first published, Paton’s illustrations were available individually for the public to purchase. The author, Samuel Taylor Coleridge (1772-1834), was a notable late 18th to early 19th century English poet. He was the youngest of fourteen children. His father was a vicar as well as the master of a grammar school, with Samuel attended. Coleridge's longest poem, 'Rime of the Ancient Mariner', was written about 1797-1798 and tells of the experiences and adventures of a sailor. It was included in a collection of poetry titled 'Lyrical Ballads', jointly written with his friend William Wordsworth. The volume is considered the beginning of the Romantic era of British poetry. Coleridge acknowledges William Wordsworth in this poem, in ‘Part the Forth’ with the footnote “For the two left lines of this stanza, I am indebted to Mr Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed”. Sir Joseph Noel Paton RSA (1821-1901) is a well-known Scottish-born artist and painter of historical artwork, created the line illustrations in 1863, highlighting the main points of the poem. In the same year he also illustrated Charles Kingsley's 'Water Babies'. He was appointed Queen’s Limner for Scotland from 1866. The book was published in 1863 by the Art Union of London, an organisation whose members paid an annual subscription, and who received an annual prize of a work of art. The organisation was established in 1837 and membership quickly grew until the 1870's. Membership then slowly dropped off until the organisation was would up in 1912. Lithographer William Husband McFarlane, of Edinburgh, Scotland, created the black and white lithograph outlines from Paton’s drawings, illustrating many of the lines of the poem. The book of poetry and Illustrations was then printed by Neill & Company, Edinburgh, in 1763. The company was formed by Patrick Neill in 176. The company was known for inventing one of the early mechanical typesetting machines, which was used for the Company's publications as well as sold to other companies even into the early 1900s. The firm continued in business until 1973. This copy of the book was presented to Emily Taylor Smith by her father on September 16, 1867, four years after it was published. There is no further information available about Emily at this point in time.This Victorian era book of poetry with illustrated prints, the 'Rime of the Ancient Mariner' by Samuel Taylor Coleridge, is considered to be a rare book. The British Museum holds two copies, one of which is very similar in description. The book is significant for containing a poem written by the renowned British poet Samuel Coleridge, who acknowledges the contribution of a couple of the lines to his friend William Wordsworth. The book's significance is increased for being included in a collection of poetical works jointly written by Coleridge and his friend William Wordsworth, entitled 'Lyrical Ballads' and published in 1797. The printer of the book, Neill & Company, was known for pioneering an early mechanical typesetting machine. It’s significance also includes the collection of Victorian artwork within. Coleridge's poem is significant for being included in 'Lyrical Ballads', which is considered to signify the beginning of the Romantic era of British poetry. Book: large, burgundy linen covered, hard cover, with gold embossed title and images, landscape orientation. Title: Coleridge's Rime of the Ancient Mariner. Author: Samuel Taylor Coleridge Illustrator: J. Noel Paton, R.S.A. Publisher: Art-Union of London in 1863. Lithographer: W.H. McFarlane in Edinburgh, Scotland, 1863. Printer: Neill & Company, Edinburgh, Scotland Contents include the lines of a poem, with lithograph illustrations above applicable short verse. The cover and fly page have the same emblems. A personal inscription is hand written in nib pen inside the book.Printed: "COLERIDGE'S RIME OF THE ANCIENT MARINER" "ILLUSTRATED BY J. NOEL PATON, R.S.A." "ART-UNION OF LONDON, 1863" " W.H. McFARLANE, LITHOGr, EDINBURGH" "Printed by Neill & Company, Edingurgh" Emblems embossed on cover, and a repeat printed on fly page, include stars encircling a crucifix and a snake entwined around a cross bow with a branch in its mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coleridge's rime of the ancient mariner, rime of the ancient mariner, ancient mariner, samuel coleridge, j. noel paton, art-union of london, 1863, rare book, samuel taylor coleridge, art union of london, w.h. mcfarlane, william husband macfarlane, sir joseph noel paton, poem, emily taylor smith, 1867, romantic period, william wordsworth, lithograph, poetry, lyrical ballads, british romantic movement, literary work, neill & company edinburgh, j. noel paton rsa, mechanical typesetting, alexander neill fraser, mechanical typesetting machine -
Flagstaff Hill Maritime Museum and Village
Ceramic - Teapot, Josiah Wedgwood & Sons Ltd, 1890
Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries -
Flagstaff Hill Maritime Museum and Village
Clothing - Collar and Box
Collar box and collar. Leather circular box with strap around body and plated buckle. Lid is attached to box. Contains 1 starched white detachable collar. Collar has markings inside.Printed inside the collar " Rexbilt" and "16½" x1¾""flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, collar, collar box, starched collar, gentleman s collar, detachable collar -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
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 -
Marysville & District Historical Society
Book, Henry Garnett, Gamble for a Throne, 1962
A novel by Henry Garnett that is about Oliver Cromwell, a significant figure in English history.The cover is blue. On the front cover is a picture depicting men who appear to be soldiers in the 1600's preparing to do battle. In the background is a building will mullioned windows. It appears that the front picture has been cut from the book's dust cover and adhered to the front cover. The title of the book is in red writing at the top of the picture and the author's name is in white writing across the body of the picture. The title, the author and publisher are written in silver ink down the spine of the book.fictionA novel by Henry Garnett that is about Oliver Cromwell, a significant figure in English history.england, history, oliver cromwell, fiction, henry garnett -
Marysville & District Historical Society
Book, Elfreyda M C Wightman, How Far to Bethlehem?-Stories from the Bible, 1945
A book for children based on the Bible.Front cover has a picture depicting Joseph and Mary, who is astride a donkey, talking to a group of men in the doorway of a building. The front cover is black with the title and series name in white. The back cover has information about a series of Bible Picture Story Books that this book is one of.fictionA book for children based on the Bible.bible story, new testament, bethlehem -
Marysville & District Historical Society
Book - Paperback book, Alma Mitchell, Fernshaw the Forgotten Village, 2001
The story of the village of Fernshaw between the dates of 1864 and 1890.Paperback. Front cover has the title and author's name. Also, a black and white photograph taken by John W. Lindt entitled 'First Glimpse of Fernshaw'.non-fictionThe story of the village of Fernshaw between the dates of 1864 and 1890.fernshaw, victoria, history, watts river, yarra track -
Flagstaff Hill Maritime Museum and Village
badge - Australia Red Cross Society (B.R.C.S.) badge, J R Gaunt and Son Limited, Victoria Junior Section, 1930
The badge represents the Victorian Junior Section of the Australian Red Cross Society, which was formed in 1914 at the outbreak of World War I as a branch of the British Red Cross Society (B.R.C.S.), hence the crown on top of the red cross. It wasn't until 1941 that he Australian Branch was Incorporated by Royal Charter. The badge was made in London by J.R. Gaunt & Son Ltd. James Richard Gaunt and his son Charles Frederick Gaunt established the Birmingham firm of J R Gaunt & Son in 1884. The business operated for over a hundred years and specialised in making buttons for uniforms. This badge is one of a set of badges collected by Dr W R Angus from the organisations in which he was involved. The set of badges is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, surgeon and oculist. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This badge is significant for connecting Doctor Angus with organisations that he supported. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Badge; a brass dome'shaped badge with two rows of text around the outer edge and a white enamel centre behind a red enamel cross. A crown symbol is embossed above the cross. Text is embossed around the edges with remnants of white within the some of the letters. The reverse has text around the emblem of a wreath and the remnants of a catch. Inscriptions include text and emblems on front and reverse. The badge is for the Australian Red Cross Society, Victorian Junior Section. It was made by J. R. Gaunt & son, London. This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.FRONT; Symbol [King;s Crown], Embossed “AUSTRALIAN RED CROSS SOCIETY (B.R.C.S.)“. Inner text “VICTORIA JUNIOR SECTION” REVERSE: Symbol p[wreath] “J R GAUNT LTD, LONDON"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, w.r. angus, badge, organisation badge, flagstaff hill maritime museum and village, australian red cross, charity, volunteer organisation, red cross, j r gaunt & son, birmingham, badges, buttons, military buttons, uniform buttons, lapel badge, junior section, b.r.c.s., british red cross society, london manufacturer -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Maniple, 1907 to mid 20th century
This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Maniple, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. Handmade Eucharist serving cloth, white fabric with white embroidery on one end, symbolising rope entwined around an anchor. flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, maniple, eucharist, embroidered linen, hand worked linen, j.a. coe, rope and anchor emblem, religious service, religious ceremony, ceremonial linen, embroidered cloth -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Maniple, 1907 to mid 20th century
This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Maniple, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. Handmade Eucharist serving cloth, white fabric with white embroidery on one end, symbolising rope entwined around an anchor. Embroidered symbol [cross]flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, maniple, eucharist, embroidered linen, hand worked linen, j.a. coe, rope and anchor emblem, religious service, religious ceremony, ceremonial linen, embroidered cloth -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Chalice cover, 1907 to mid 20th century
This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Chalice cover, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. The white fabric has been hand stitched and a drawn-thread design of a cross has been handworked into the fabric. Pulled-thread symbol [cross]flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, hand worked linen, religious service, religious ceremony, ceremonial linen, chalice cover, drawn-thread, needlework