Untitled, orange flowers in multicoloured ceramic juguntitled, orange flowers in multicoloured ceramic jug

Electric kettles were invented by the English to speed up tea preparation. In Australia fancy ceramic electric jugs quickly became a status symbol. During the Great Depression era anyone who could offer you a cuppa from a beautiful Electric Kookaburra Jug was considered to be doing well. Made by Nilsen Porcelain Australia in the 193Os, these kettles were unique for their charming art deco bird shape. Nilsen Electric Kookaburra Jugs are now regarded as a classic Australian icon prized by collectors. Oliver John Nilsen was born in Collingwood, Victoria in 1894. In 1916 he began his own electrical business, Oliver J. Nilsen & Co. (later Oliver J. Nilsen (Australia) Ltd). Nilsen's manufactured goods included such diverse products as transformers, bearings, battery chargers, bells, buzzers and gongs, porcelain ware, fuses, insulators and neon signs. Nilsen Porcelain Australia was a smaller company within the Nilsen group. Nilsen still operates as an electro-technology company operating throughout AustraliaThis jug is an excellent example of art deco ceramic appliances of the 1930s to 1950s on both a local and national level. It is also representative of products developed by a major Australian manufacturer. Earthernware ceramic jug, moulded in art deco style to represent an Australian kookaburra.vintage electric kettles, kitchen appliances, nilsen australia

Advertising material in the form of a jugObject imported as a promotional object by Holden and FrostCream ceramic jug advertising Ellimans universal embrication, with pouring lid and handleEllimans Universal Embrocation. Stiffness aches sprains bruises. Diagram with cyclist jug, ceramic

Ceramic jug, cream body with black handle and spout, with picture of Ringwood Town Hall on side.Town Hall, Ringwood, Victoria; Royal Stone China, Made in Czechoslovakia, RKG, 110

Small ceramic jug with black handle and rim and floral decoration in tones of green, red, yellow & blue.Made in Japandomestic equipment, food consumption, jugs

Ceramic Jug (Previously #145 from Mechanics Institute Eaglehawk ) Orange Handle and stripes. 3 green stripes 1 red stripe. Approx 35cm x 20 cm. label tied to handle, unable to read.cottage, miners

White ceramic jug and bowl. Ewer and bowl are a matching pair, trimmed with a red-brown rings and bands. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramic jug and bowl, ewer, ewer set, jug, ceramic, earthenware

An item from the Bridge Hotel displays that were sourced circa 1974.Large brown and cream ceramic bottle with a handle on the top of the bottle. A brown rope is tied around the spout at the top of the bottle.bridge hotel, bridge hotel restoration, echuca

Jug, ceramic white glaze, relief decoration, ornate handle. Stamped with IBH England.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic white glaze, ceramic jug, ibh england.

This is a souvenir mug produced for visitors to the ‘Mary Rose’ Exhibition in Warrnambool (December 1994 to February 1995). The ship ‘Mary Rose’, built in Portsmouth, England in 1509-10, was historically of major significance. She was the spearhead of a master plan to give England superiority on the high seas. Using new technology of the time, heavy artillery was mounted on the lower decks of this ship and this overloaded the ship. In 1545 she sank in Portsmouth Harbour with the loss of 700 lives as she was about to set sail to defend the English against the French invaders. In 1982 the hull of this ship was raised to the surface and the contents recovered. Over 200 items from the wreck were brought to Warrnambool and displayed in 1994-5 at the Warrnambool Art Gallery. This is a souvenir from a interesting and major exhibition which was held in Warrnambool in 1994/95. It is one of a number of items which were massed produced for the event.Cream ceramic jug which has a fluted rim . It has an oval bulb shape at the bottom section which is topped with a more narrow circular rim. It has matching rings around the base and the neck of the jug. There is an image of The ship The Mary Rose in black on one side of the jug and printing in a dusty red on the back of the jug. It has a stylised rope handle with mottling of black."Mary Rose" Exhibition Warrnambool 1994-1995 on jug. Lady Bay Creations Warrnambool creations Australia on base of jug.mary rose exhibition, mary rose exhibition warrnambool, ceramic jug, souvenir mary rose, 16th century ships

This is an example of a late 19th century item commonly found in a bedroom of a comfortable home.Large ceramic bedroom water jug, Beige in colour with gold enscribing. Rim is scalloped.ceramic jug porcelain

Improved InhalerCeramic JugMade in Englandimproved, inhaler, ballarat

Inhalation JugCeramic jug with spoutinhalation, jug, ballarat

Photograph of a hand thrown ceramic jug. ceramics, gilbert buchanan, redbyrne pottery, sheparton, australian studio pottery

Photograph of a hand thrown ceramic jug. ceramics, australian studio pottery, jug

Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.A mid to late 19th century ironstone jug with no makers markings only a date letter therefore at this time cannot be associated with an historical event, person or place, provenance regards maker is unknown, item assessed as a collection asset given it was produced before 1950.Jug, white Earthenware with leaf decoration around the base, handle and lip.Letter "E" date mark for 1881flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, ceramic jug, drink ware, kitchen ware, table ware, ceramic, pottery, milk jug, cream jug, ironstone jug

Ceramic jug designed for inhaling fumes, for medical purposes.DR. NELSON'S IMPROVED INHALER. DIRECTIONS FOR USE: REMOVE MOUTHPIECE, HALF FILL INHALER WITH WATER REPLACE MOUTHPIECE & APPLY LIPS TO IT. BREATHE FREELY IN & OUT AS IN ORDINARY RESPIRATION.

Albury Pottery was established in the late 1970s to supply pottery for the party plan company Cooperware, a spin-off from Faberware. Located in Hudson Crescent, Lavington, the pottery was managed by Rudolph Dybka until 1983, then by Ron Petch, who had previously worked as sales manager for Cooper Pottery, one of Cooperware's UK suppliers. By the mid-1980s, the pottery had four throwers and a further 5-6 employees, and was specialising in stoneware with distinctive ribbed forms and light blond glazes. In 1985, the pottery was sold to the NSW Government as a workers' cooperative, and Petch moved to Old Ballarat Pottery as production manager. In 1987, the Petch's bought back into the business with partners Pat and Ken Snape, moving to slip casting, doubling the operating area, opening a terracotta plant in a separate location and establishing a tourism presence in the Old Cheese factory between Albury and Wodonga. As the business grew it took on more partners and this proved problematic in a declining market for production pottery. The Petch's pulled out in 1991 and the pottery closed shortly afterwards. (CC BY NC SA Judith Pearce, accessed https://www.flickr.com/groups/1281707@N21/discuss/72157629392131982/, 15 October 2024.)A ceramic jug with a brown top, and an emu on a white ground.albury pottery, emu

Johnson Brothers was a British tableware manufacturer and exporter that was noted for its early introduction of "semi-porcelain" tableware. In 2003, the manufacturing of Johnson Brothers products in Britain ceased and was transferred to China. Owned by Wandin J. Sebire Keywords White ceramic jug and basin with green floral design."Vienna" Johnson Bros. Englandjugs, water pitchers

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/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug

Ewan MacDONALD Studied Ceramics at the University of Ballarat (later Federation University) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Ceramic jug featuring the face of former Australian Treasurer Peter Costelloart, artwork, ewan macdonald, peter costello, ceramics, available, alumni

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Blue glazed ceramic jug. If you can assist with information on this artist or artwork please use the comment box below.art, artwork, anne cogger, ceramics, available, tafe ceramics collection

Large ceramic jug decorated with racquet and ball motif. Text inscribed in base: 'YE TENNIS TOILETTE'. Materials: Ceramictennis

White, decorated ceramic jug with gold decoration around lip and base. Handle has decorative relief. Crack in pouring lip.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Bridget BODENHAM Bridget Bodenham has a Diploma of Arts (Ceramics) from the University of Ballarat (now Federation University. In 2006 she received an Emerging Artist grant from the Australia Council for the Arts and was also part of Craft’s annual graduate survey exhibition, Fresh!. She works full time making ceramic serving ware, tableware, utensils and jewellery as well as planter pots and flower vases. The majority of her work is designed to be used and enjoyed. Bridget feels a connection to her surrounding bushland landscape and interprets the tones and textures in her work. She takes great care in creating each piece by hand and firing them up to three times in her large gas kiln. Each firing is totally unique resulting in one off pieces. Bridget Bodenham was a finalist in the Bombay Sapphire Design Discovery Award (2008) for a series of ceramic mortars and pestles, and received an Honourable Mention in the Mino International Ceramic Award, Japan. Bridget aims to create a sense of curiosity and reflection in form and function. She hopes her work delights and engages the owners hands and heart into everyday activities. The Federation University Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Small, thrown ceramic vessel / jug with handle and lip. art, artwork, bridget bodenham, ceramics, alumni

White Ceramic Electric Jug - Used in the Wilson family, D'Alton Streetstawell

Piece of the bottom of a white ceramic milk jug. Has QUEENS WARE markingflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Milk jug belonging to a set produced for use at the Moorabbin Arts Centre (now Kingston Arts).White ceramic milk jug with lid and Moorabbin Arts Centre logo on front.Marked on base: Royal Porcelain / Kingdom of Thailand / Oven to Table / Dishwasher - safe / Microwave - safeephemera, crockery, tableware, moorabbin arts centre