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.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

''The Beginnings of Local Government in Sandhurst 1855-1856'' (- author Marianne Diedrich). Mention of Angus Mackay, Robert Ross Haverfield, James Forrester Sullivan, Edward Nucella Emmett,George Washington Haycock, H. Neale, D M Donegal, Shadrach Jones, W L Harris ('Yanky Sam'), John Harney, E. Bissell, Alfred England, Mr Hopkins, George Avery Fletcher, Mr Pitman (Solicitor), John Roach, Cr. Haycock, Detail of early function of meetings, rates, public meeting. Author claims the 1856 council to be 'tenacious' and laid foundations for improvements. Includes reference.Marianne Diedrichbendigo, council, city of sandhurst, george avery fletcher, mr pitman, john roach, cr. haycock, mr hopkins, angus mackay, robert ross haverfield, d. bissell, alfred england, shadrack jones, james forrester sullivan, d. m. donegal, w. l. harris, edward emmett.

Background to the Mayger family in EnglandMayger family were a pioneer family in the Greensborough area3 x A4 pages. Citation from the 1841 England Census for Alfred Mayger, accessed via Ancestry.co. Also pages from National Burial Index detailing Mayger burials in Somerset.mayger family, alfred mayger

Oval shaped china sandwich plate decorated with rural scenes and gilded around rim.Alfred Meakin Englanddomestic equipment, food consumption, plates

Small bowl-dish with rim. Brown daisy pattern.Glo-White-Ironstone / crown symbol / Alfred Meakin / Englandplate, bowl, meakin

Oval China meat dish with dark blue rim and gold design on edge, with matching Gravy boat. "Bleu de Roi China'."Bleu de Roi Alfred Meakin Ltd England?gravy boats

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The King's England - Berkshire Alfred's Own Country Edited by Arthur Mee Publisher: The Caxton Publishing Co Label on spine cover with typed text PAT 914.2 MEE Pastedown front endpaper has sticker from Warrnambool Public Library covered by a sticker from Corangamite Regional Library Service Front loose endpaper has a stamp from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the king's england - berkshire, the king's england, arthur mee

Dr Alfred Fay Maclure (1883-1956) (trained in England) Alfred Hospital as Inpatient Surgeon who served in World War One.Medal dates from 1956 and was a prize awarded to Alfred Hospital student nurses for surgical nursing. Awarded to Ann Clezy long term Alfred Hospital identity.Bronze coloured round medal sitting in a hinged, paper presentation box,Box - Wm. Drummond & Co. Ltd./Jewellers/344-?/Collins Street/Melbourne Medal - Observe (front) - Top - Alfred Hospital Melbourne Bottom - Nurses League Reverse (back) AWARDED TO/ANN STEELE CLEEZY/FAY MACLURE PRIZE/For/Best Surgical Nurse/in 3rd Yearmedal, award, alfred hospital, nurses award, surgical nursing, ann clezy

This Can opener was used at the Bandiana Golf Club near Wodonga. Bonzer was a trademark of Mitchell & Cooper of England. Alfred Mitchell & Arthur Cooper started as silversmiths and engravers in 1879 in East London. The family owned business is still operated by Guy Cooper, great grandson of Arthur Cooper. Bandiana Army Golf Club 18 hole course opened in 1949. The Club reached its highest membership with 400 members in the late 1980s. Members played their last competition at this course on 30th October 2103.This utensil was used at the Bandiana Army Golf Course near Wodonga.Cast iron commercial can opener with rotating handle including a red knob.Underneath base plate "THE BONZER /TRADEMARK/ CATERER'S/ CAN OPENER/ MADE IN ENGLAND"caterers' utensils, kitchen utensils

Lance Corporal "Alfred Alexander Priest" No. 5162. Enlisted 31/12/15 into 6th Battalion, 16th Reinforcements. Embarked 1 April 1916 for England the 29 Aug 1916 to France. Hospitalised 8 Nov 1916 for trench foot and rejoined unit 11 Feb 1917. WIA 27 Feb 1917 GSW left forearm and rejoined 30 July 1917. WIA 4 Oct 1917 GSW left finger and rejoined 1 Jan 1918. WIA 16 May 1918 multiple gunshot wounds - died 27 May 1918. Buried at Boulogne Eastern Cemetery.Ful length portrait of Alfred Alexander Priest in full uniform of WW1 ANZAC Soldier, in sepia. Man standing in an outside setting, holding a cane.Front bottom right hand corner written "KALMA BENDIGO". Back top right corner written "Len's Uncle, Alfred Priest".ww1, 6th battalion, alfred alexander priest

The soldier in the photo is Charles Alfred KEDGE No.38512. Born in Bendigo, he enlisted on 8.11.16 aged 21 in the FIELD ARTILLERY BRIGADE Reinforcement 32. Embarked for England 26.11.17, embarked for France 17.7.18, KIA 16.8.18 at Tincourt, France. The photo was most likely taken in Croydon, South London at the home of Stephen Tully, the elder man sitting in the photo. Betty Tully is in front of him, Eileen in the white dress. The lady in the black dress is Annie Parker. The photo was taken prior to Kedge embarking for France. Refer to Ct. No.4056 for other item.Photo, sepia tone, showing a soldier standing behind a man & woman seated and two girls sitting on grass.On rear in pen: “CHARLIE KEDGE, Stephen Tully, Annie Parker, Betty Tully, Eileen Tully”photograph, artillery, kia

There are 3 names mentioned on the page, it appears the letters possibly from post cards have been copied onto this one sheet. Two are from Lark Hill England from Alf Ferris, one dated 20 Sept 1916, two are to “Dear George” and the other name is Jack Elliot. Item in the collection relating to Alfred G Ferris No 2156. Refer Cat No 4183.3P for his service details.Letters 5 off on ledger paper, red & blue lined hand written in black ink.letters, ww1

The letters were sent home by Alfred G Ferris to his Mother and Sister and states that he has sent the Brooch home not long after arriving in England. Refer cat No 4183.3P for his service details..1) .2) Two letters, red ruled lined paper, hand written in ink, both written on same day. .3) Card, without badge, “Regimental Brooch Badge”, Patent No 8448, yellowish colour..1) Main items, “Codford 5.11.1916” , “Dear Mother”, “from your loving son Alf”. In pencil at bottom, “Silver leaves from S Africa” .2) Main items, “Codford 5.11.1916”, “Dear Marian”, “Love from Alf”letters, brooch, ww1, s.africa

Letters written by Alfred G Ferris No 2156 AIF from a training camp near Codford England to his family in Australia. refer cat No 4183.3P for his service details. .1) Envelope, rectangular shape, off white colour, stamped "Field Post Office", stamped "Passed by Censor", hand written address in black ink." .2) Letter, Ünited Navy and Army Board Soldiers Church and Institute" letterhead, all print in black, hand writing in black ink, dated. .3) letter, "YMCA" letterhead, print in black and red, hand written in ink and pencil, dated..1)"Mrs W Ferris Terrick Terrick Via Pyramid Victoria Australia" .2) Main items, "4.10.16", "Dear Marian and all at home" .3) "4.11.1916"letters, envelopes, codford, ww1

Letter written by Alfred G Ferris No 2156 AIF while on his way to England. Refer cat No 4138.3P for his service details..1) Letter with YMCA logo, yellow colour paper, print in red and black, hand written in black pen mostly in pencil. .2) Envelope, YMCA logo, stamped in black RH corner, red oval stamp on left, hand written address to in black pen, a pencil entry unclear.Letter main points, “On Water, Aug 13th 1916”, “Dear Marian & all”. Envelope stamp, “Army Post Office A 14 de 16 S.W.4”. Addressed to, “Mrs W Ferris Terrick Terrick Via Pyramid Victoria Australia” Oval red stamp, “1984” readable.letters, envelopes, ymca

Letter sent by Alfred G Ferris No 2156 AIF when he was docked in Fremantle on the way to England. Refer cat No 4183.3P for his service details.Booklet, folding, cover brown colour, “Souvenir of Perth WA” all print in black, hand written in black pen, inside has a letter in black pen dated followed by coloured photos of PerthOn front to, “Miss A Crossman 66 Wills St Bendigo Victoria”, from, “A.G.F”. Letter main points, “Perth 7th Aug 1916”, “Dear Amy”, “Kind regards and best wishes from Alf Ferris”souvenir, photos, perth

Letters written by Alfred G Ferris No 2156 AIF from Training camps in England. refer cat No 4183.3P for his service details..1) letter, “ “YMCA, H.M.Forces On Active Service” letterhead, print in red and black, ruled lines, hand written in black pen, dated. .2) Envelope, yellowish colour, green postage stamp, hand writing in black pen. .3) .4) letter, same as .1) different date and Camp..1) Main points, “Lark Hill Salisbury Plain England, 24th sept 1916”, “Dear Mother”. .2) addressed, “Mrs A.E.Ferris Terrick Terrick Via Pyramid” .3) Main points, “Hurdcott camp 23 Nov 1916”, “Dear Mother & ones at home”.letters, ymca, envelopes, ww1

The letter is from Alfred G Ferris No 2156 AIF, dated 9.1.1916, it is doubtful if this is correct as he enlisted on 14.3.1916 and embarked for England on 1.8.1916. Refer Cat No 4183.3P for Alf’s his service details.Letter, rectangular shape, off white colour, ruled lines, double sided, dated.Main points, “France 9th Jan 1916”, “Dear Jim, from your affectionate brother Alf”letters, france, ww1

All three postcards were from Alfred Gilpin Ferris. Alfred enlisted in the AIF on 14.3.1916 age 32 years No 2156 in the 4th Reinforcements 60th Bn. Embarked for England 1.8.1916, disembarked 14.9.1916, to Hospital 15.10.1016, embark for France 6.12.1916, attends Musketry School 27.5.1917, rejoins unit 4.6.1917, detached to 5th Div Horse (Clipping ?) Depot, rejoins unit 6.12.1917, transfers to 59th Bn 25.9.1918 and detached to 5th Div Train, rejoin unit 14.11.1918, transfers to 29th AASC 20.1.1919, and appointed Driver, RTA 20.7.1919, discharged from the AIF 26.10.1919.Post cards with B & W images. .1) image of a Chateau, hand written on the back. .2) Image of Ben Nevis, hand written on the back. .3) Image of the Upper Lake Killarney, hand written on the back. .1) 17th March, To Mother from Alf. .2) 22 Aug 1918, Dear Mother Love Alf .3) Dear Mother, from your loving son Alf.stationary, postcards

Both letters to “Lena” are from "Alfred ROGERS" believed to be Regt No 2390, born Bendigo, enlisted in 4th reinforcements 38th Bn AIF age 18 years. Embarked for England 20.10.1916, embark for France 6.5.1918, WIA 9.8.1918 Concussion, hospital aboard ship 19.2.1919 “Albuminuria” discharged from the AIF 11.8.1919. (.2) On the rear a date 22.2.1916 has been written in darker pen colour. Alf Rogers had not enlisted at this point. The contents of the letter relate to German POW’s in England so the date would be more likely to be 1917. Refer Cat No 3996P re “Lena” and other cards.(.1) Post card photo, B & W, soldier standing at ease with studio back ground, on rear handwritten in black and blue pen addressed to “Dear Lena”. (.2) Post card, silk, colour with vase of flowers, bows and flag. Across the top in yellow sewn in “For you alone”. Letter on the rear is in black pen and addressed to “Dear Lena”.38th battalion, wwi, alfred rogers

Certificates presented to Alfred Edward BOLAND between 1942 - 1946. Refer Cat No 2473 for his service details.Re Alfred Edward BOLAND. .1) Coloured certificate on blue background under glass in a wooden frame. .2) Cream background with black print, green surround, glass covered in a wooden frame. .3) Cream background with black print, green surround, glass covered in a wooden frame..1) Service Recognized by St Marks Church of England, Golden Square. .2) Certificate of Service of an Officer. .3) Australian Military Forces Warrant Issued 20.2.1942.promotion, service, recognition

Letters from Alfred Ferris to his family in Terrick Terrick Victoria. Ferris collection refer Cat No 4183.3P.1) letter “YMCA” logo rectangular shape off white colour, all print in red & Black, ruled lines hand written in black pencil & dated. .2) Envelope “YMCA” Logo rectangular shape fawn colour, print in red & black, hand written in black pencil & dated, P.O stamp in black dated. .3).4) Letter “YMCA” logo rectangular shape off white colour, print in red & black, ruled lines hand written in black pencil and dated..1) Letter, “Park House Salisbury England, 3rd July 1919” .2) Envelope P.O stamp, “AIF Camp P.O JY 19, 19” (July 19th 1919) .3).4) Letter dated, “14.7.1919”envelopes, letters ymca,

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Black and white photograph backed onto black backing board showing a man in a long coat and top hat with his hands in his pockets and a moustachefrederick deeming, emily mather, murders

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Black and white photograph backed onto black board showing a lady in dark clothing and hat resting with her right elbow on the arm of a lounge. Woman is holding a small sprig of flowers in her left handEmily Lydia Mather. Murdered by Deeming 1892 (in black ink along top of photograph)frederick deeming, emily mather, murders

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Medium sized photograph of Frederick Deeming with a moustache drawn on the image in inkFrederick B. Deeming (on image in black ink)frederick deeming, emily lydia mather, murders

Leah Rosenthal ARRC (Born Melbourne) Enlisted in 1915 and embarked 18.12.15 from Australia to join the QAIMNSP service. Her service was terminted on 9.5.19. She was awarded the ARRC (2nd class) for her work at a CCS on the Western Front. Articles written about her state that she was also awarded an "MM". ARRC, (Royal Red Cross). CCS, (Casualty Clearing Station). MM, (Military Medal) QAIMNSP, (Queen Alexandria's Imperial Military Nursing Service) A brother Samuel was KIA in the war, refer 620. The badge was an “Empress Club 1914 Emergency Voluntary Aid Committee badge”which was a Ladies Club in Dover street Piccadilly. “Fortiter Fideliter” meaning “Strongly Faithful”. The centre of the badge is a Maltese Cross. There is a ribbon with the badge but missing. During WW1 the Club was used as a War Supply Depot. In 1917 a Red Cross hut was opened on the roof of the building. Pre war Leah had done her training at Alfred Hospital. After the war Leah and close friend Isabella Jobson bought St Lukes Private Hospital and renamed it “Vimy House”. Leah passed away in 1930. Isabella inaugurated and annual prize in Leah’s name at the Alfred Hospital for the best Theatre Nurse. Isabella had gone with Leah to England and they both served together during WW1..1) Medals, court mounted set of (3) re L.Rosenthal. 1, 1914-1915 Star. 2. War Medal 1914 -1918. 3. Victory Medal 1914 - 19 replica not engraved. .2) Badge metal slightly oval Red cross centre with white and gold trimming. In gold lettering "Fortiter Fideliter 1914" around the outside.,1) Sister L Rosenthal Q.A.I.M.N.S.Pmedals, hospitals, military, nursing

.1) Charles Henry Ernest Williams No 1108 enlisted in the AIF in G Coy 15th Batt on 26.9.1914 age 29 years. Embarked for Egypt 22.12.1914, embark for Gallipoli 12.4.1915, KIA 2.5.1915, buried at Popes Hill. His body was later exhumed and buried in Quinns Post Cemetery. .2) Stanley Melville De Ravin had some 5 years military service prior to enlisting in the AIF on 24.8.1914 with the rank of Lieut in G Coy 7th Batt age 24 years. Embark for Egypt 19.10.1914, embark for Gallipoli 12.4.1915, promoted Capt 26.4.1915, awarded MID for “Conspicious Gallantry and Services” between 25.4.1915 - 5.5.1915, WIA 8.5.1915 GSW to Foot, returned to Aust classed unfit for General Service, promoted Major 13.7.1917, returned to France July 1917, transferred to Senior Officers School England Oct 1917, hospitalised in November 1917 he then left England for Australia with effects of a dislocated knee on 24.1.1918, his appointment in the AIF terminated on 24.4.1918. He was one of the “First Lot” of 93 men who volunteered in Bendigo. .3) Alfred R Williams No VX53411 enlisted in the 2nd AIF with 2/28th Batt on 21.4.1941 age 21 years. Promoted to Cpl he was KIA at El Alamein on 23.10.1942. .4) James Andrew Williams “MM” No 742 enlisted in the AIF in C Coy 40th Batt on 15.3.1916 age 29 years. Embark for England 1.7.1916, embark for France 30.9.1916, transfer to 15th Batt 13.10.1916, allotted Regt No 742A, hospital 26.1.1917 with Fracured Rib, rejoin unit 7.3.1917, WIA 11.4.1917 GSW left forearm severe remaining on duty for a short period, rejoin unit 16.7.1917, WIA 2nd occasion 26.9.1917 GSW neck and arm, during this action he was awarded the “Military Medal” at Zonnebeke, promoted Cpl 2.10.1917, rejoin unit 18.12.1917, WIA 3rd occasion 25.8.1918 Gassed, while recovering admitted with Diarrehoea 26.10.1918. After all this he gets himself into some trouble refusing a duty and is charged and reduced to the ranks. He disembarks in Melbourne on 13.11.1919 and discharged from the AIF on 14.1.1921..1) Copy - black and white photograph of soldier in uniform mounted in green cardboard folder. Private Charles H E WILLIAMS. Service details in black ink on paper. .2) Copy - black and white portrait photograph mounted in green cardboard folder. Major Stanley M De RAVIN. Information in black print on white paper. .3) Copy - black and white portrait photograph, solder in uniform mounted in green cardboard folder. Cpl Alfred R WILLIAMS. Information in black print on white paper. .4) Copy - black and white photograph soldier in uniform mounted in green cardboard folder. James Andrew WILLIAMS. Information in black print on white paper..1) In loving memory of great uncle Charles killed at Gallipoli may 20th 1915. From Jan Grose. .2) In loving memory Major Stanley M De RAVIN from I & J Grose .3) In loving memory of our uncle great uncle and great great uncle J.C. A. O Grose. .4) In loving memory of our grandfather great grandfather and great great grandfather J.C. A.O. Grosephotographs, oval, ww1