Ceramic bottles have been made in a variety of shapes and sizes and can reflect the contemporary society. They also are part of the history of bottle manufacturing.253.1 A dark brown ceramic bottle with pouring lip. 253.2 A cream ceramic bottle without lip. 253,3 A cream ceramic bottle with pouring lip.253.1 Doulton Lambeth 253.2 ? Smith & Co London 253.3 Bourne Denbybottle ceramic stoneware

These bottles were common in the late 1800's and 1900's. Bottle Nos 1 and 2 were made by Angus & Co, a Sydney company producing ink and gums (glue and clag) from about 1880 to 1920. Their products were sold in stoneware and glass containers in varying sizes. 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This bottle is missing. Nos. 3 and 4 The two tall thin Erven Lucas bottles with handles at the top were usually referred to as "Dutch Gins". In fact they actually contained "'Seltzer Spa water' or a form of Quinine Tonic, both supposed to be health drinks. These types of bottles first arrived in Australia with the Gold-seekers from Europe. Early samples are somewhat crudely made. The potter would have formed the bottle with a young apprentice applying the handle, name stamp and the glaze prior to being fired in the kiln. There is evidence of fingerprints from these processes on both samples.A collection of five handmade rare stoneware bottles with a salt glaze: 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This is missing. 2. Medium glazed brown pottery bottle with a pouring spout (Angus & Co Ink Commercial). 3. Medium glazed brown pottery bottle with a pouring spout (Bourne Denby). 4. Large glazed brown pottery bottle with a pouring spout (Bourne Denby). Sample is from England probably sold for 2/- or 2/6d. Two shillings or two shillings & sixpence. 5. and 6. Two tall thin brown pottery bottles, one with a broken cork stopper and one without a stopper with Erven Lucas Bols - Het Lootsje Amsterdam stamped at the top of both. They were usually referred to as "Dutch Gins". 6. Green/black bottle is a traditional Dutch Gin with tapering sides, which made it easy to remove from the mold after being blown by hand and the cork top was applied by an apprentice. This sample dates from approximately 1900. Earlier samples are very crude with later samples being machine made with embossing.(This bottle is missing, 13.10.2022). 2. 'Angus & Co Ink Commercial' 3 and 4. 'Bourne Denby' stamped inside an oval lined shape. 5. and 6.Erven Lucas Bols - Het Lootsje Amsterdambeverage bottles, bottles, storage containers, stoneware bottles

Found in old retaining wall during restoration work in 1980s together with some original earthenware chimney pots that are now restored to chimneys at Hymettus. The presence of such items discarded in garden areas and fill, indicates that these imported bottles were a common utensil in the area. Bourne's Denby pottery was a prolific producer of such items in the nineteenth century and Denby remained a notable British pottery into the late twentieth century.damage to top from spade otherwise undamaged with glaze to all sides.Impress stamp lower side of bottle.denby, vicrorian, ballarat

Names on a number of photographs a Dennys Simpson on Topsy. Carrs Plains -1a Peg, Barb, Dennys, Pat & Hubert -3a Dennys with pet lamb Denby -4a Dennys 4yrs Rollo 5 months -5a Dennys 4 Years -6a Hubert Dennys -7a Meg -9a Barbara with Meg -10a Rollo 10 Months. Picnic at Bolangum Ranges -11a Peg and Arthur Grossley -12a Rollo 11 Months -13a Rollo 19 months Jan 1925 -14a Barbara 15 years, Patricia 12 years, Edith 14 years -15a Mother Molly -16a Dad on Sport Series of 17 smallish B/W Family Photographs in brown cardboard albumBarbara Wettenhall with love from June

Black and white photo of the Belgrave South Cubs taken between 1976 and 1978, probably at the Belgrave South oval. Photo and info supplied by Martin Kirby on 20th June1993. Back row: Baloo (Lyn Lashmar), Peter Wragg, Gavin Smith, Brett Lashmar, Grant Fuller, Phillip Denby, Kaa (Kathie), Martin Kirby. Middle row: David Kirby, Andrew Van Vloten, Michael Dowling, Damian Argoon, Akeila, Nicholas Van Vloten, Geoff Fowler, Damian Vanwray. Front row: Matthew Hempol, Ian Burke, David Cummings, Mowgli (Alan Quincey), Allister Miller, Brian Fuller. Also sheet with names.

Burleigh Pottery, also known as Burgess & Leigh, is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, which at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries' constricted sites and haphazard layout of their working spaces. In 1887, Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895, respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919, it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with many extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire, later becoming the Commonwealth and American markets, and focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010, it was acquired by Denby Holdings Ltd, the parent company of Denby Pottery.Burleigh was a significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today, demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy boat with curved handle, and a matching saucer. The set has an overall rectangular design, with blue and white willow pattern on both pieces. The edges of the boat and saucer have gold line trim. The undersides of both pieces have a blue maker's mark stamp. The Willow pattern Burleigh Ware pieces were made in England.Burleigh Ware: "WILLOW" within a floral decoration, and "Made in England"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, willow pattern, willow ware, burleigh ware, made in england, blue and white china, gravy boat, gravy jug, gravy saucer, serving ware, domestic object, matching jug and saucer, oriental design, burleigh pottery, burgess & leigh

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

From Rosemary Cameron - This quilt has been made in 100% wool to celebrate the diversity, durability and beauty of pure wool, especially the lightweight cool wools. The woollen patches were kindly donated by Mr. David Jones, managing Director of Fletcher Jones and Staff which were pre-cut samples of European Fabrics in various weights, textures and colours. I had the task of creating a design around the fabrics available, some of which I only had to sample. I chose to surround my design with dark shades to encompass at the top of the quilt, the lightness of the sky and the trees, in the middle the warmth of summer, the dryness of central Australia and at the bottom the rick tones of Opals, our mineral wealth and the internal heart of earth. To add excitement and texture to this design I chose 31 Australian Wildflowers including all the Australian Floral Emblems, some unusual wildflowers and favourite small wildflowers. Twice life size, these flowers have been made of silk wool and cotton, embroidered, painted and beaded by our creative and talented Hamilton Quilters, their results are fantastic! The brilliance and timeless quality of these Australian Wildflowers intensify and complement the colours of the Wool Quilt. The Quilt was hand pieced and hand quilted at quilting bees. It has a woollen batting, binding and backing which was a delight to work with and very easy to quilt. The flowers were assembled and attached in small working bees. To the fifty-two Hamilton Quilters who have worked on this quilt for six months thank you for you hard work and creativity especially Joan H. Lyons for her time, enthusiasm and knowledge when difficulties arose. Joan M. Lyons has worked with me on various stages of this Quilt, her help and support has been tremendous. To my family who have tolerated scraps of wool and silk, photographs, wildflower books and specimens and drawings which have at times almost taken over our house, a year from ideas to completion, thank you for your support and help in many ways.Multi coloured patchwork quilt with native flowers protruding from centre in a diamond shape.Embroidered on back - "The Celebration Quilt" Made in 1990 by The Hamilton Quilters, Designed by Rosemary A.O. Cameron. Made of Pure Wool. Beryl Anderson, Joan Askew, Bett Basham, Marilyn Baulch, Rau Blaby, Pauline Boyd, Aileen Beckwith, Dorothy Beveridge, Ros Brommell, Rosemary Cameron, Gwen Cook, Anne Cordner, Kaylene Cowland, Elaine Denby, Barbara Dolman, Rosalie Duffield, Helen Fry, Glennys Gardner, Nola Gunning, Margaret Irvine, Bev Jeffrey, Emma Jensen, Betty Lacy, Helen Lampard, Joan H. Lyons, Joan M. Lyons, Elaine McDonald, Carole McEwan, Joy McLeod, Joyce McLeod, Mary May, Joan Mallinson, Susan Mason, Anne Menzel, Val Mills, Betty O’Brien, Di Pettigrew, Therese Read, Sherry Robertson, Lee Rowland, Irene Saddler, Nanette Templeton, Glenys Tindall, Liz Wallis, Ruth Walter, Marion Warburton. Alison Waterman, Pat Wilmot, Nola Malcolm, Ann Nicholls, Margaret Rowe, Jill Hillier.celebration, flowers, hamilton quilters, quilt, native flowers

This is a Victorian salt glazed stoneware ink bottle. These types of bottles were mass produced in England by potteries such as Bourne Denby or Lovatt and Lovatt (both of Derbyshire). Unfortunately, this bottle doesn't have a maker's mark. Pen and ink has been in use for handwriting from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use replacing the quill or dip pen. It was salvaged from the Loch Ard along with many smaller versions called "penny ink wells". The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This ink bottle was given to George Shields - a member of the Shields family who have had a long association with the wreck of the Loch Ard. In 1878, following the wreck of the Loch Ard and the subsequent rescue of Eva Carmichael, Eva was taken to Glenample station (near Princetown) to recuperate. It was during this period that Eva became great friends with Jane Shields (an Aunt of George Shields) - a friendship that continued throughout their lives. At that time, Jane was a young woman living in Princetown with her parents and siblings. Many of the Shields family continued to have a great interest in the Loch Ard and several generations of the family are buried in the Loch Ard cemetery.This ink well is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefact's from Loch Ard and its collection is significant for being one of the largest accumulation of artefact's from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Brown, cylindrical shaped, salt glazed stoneware ink bottle with straight sides and a slightly fluted neck and round opening. The bottle has a thin raised circular line in the middle of the shoulder and two parallel lines (about 23 mm from the shoulder) around the body of the vessel. Another line (about 10 mm from the parallel lines) appear to be for the placement of a label. There is a remnant of masking tape attached to the back of the bottle and some flaking and chipping on the stoneware. No maker's mark can be seen.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, loch ard, shields family, jane shields, ink well, ink bottle, stoneware, stone glazed ink bottle, loch ard artefact

These 27 photographs were taken at Flag Day, an annual sports competition between the Army Survey Regiment and the School of Military Survey, at Bendigo 24th of May 1991. The two RASvy units took turns each year to host the event. The day competition usually comprised basketball, cross country, golf, sailing, squash softball, tennis, touch football, tug-of-war and volleyball. The evening competition often included darts, carpet bowls, hookey, quoits and snooker. The winner of the Flag Day competition in 1991 is not known. This is a set of 27 photographs of Flag Day, Army Survey Regiment (ASR) verses the School of Military Survey (SMS), at Bendigo on the 24th of May 1991. Colour photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, 1991, personnel from ASR and SMS meet at the BBQ area. .2) - Photo, colour, 1991, personnel from ASR and SMS meet at the BBQ area. L to R: unidentified, WO1 Russell ‘Rusty’ Williams, SMS CO LTCOL Harry Hansen, unidentified, SGT Stuart Ridge, ASR CO Rene van den Tol, unidentified (x3), WO1 Steve Hansen, unidentified (x3), Neil Pedler. .3) - Photo, colour, 1991, personnel from ASR and SMS meet at the BBQ area. L to R: LT Denby Moylan, CAPT Geoff ‘GT’ Ford. .4) - Photo, colour, 1991, ASR Tug-of-War Team back row L to R: Mick Hogan, Tony Grivel, unidentified officer, Graham Ragless, unidentified. Front row L to R: Frank Savy, Geunther Ebenwaldner, Gary Seivers, Ken ‘Sluggo’ Slater, Peter Crabbe, Marcus Seecamp. .5) &.6) - Photo, colour, 1991, ASR Tug-of-War Team in action L to R: Ian Baldwin, Graham Ragless, Mick Hogan, Geunther Ebenwaldner, Tony Grivel, Gary Seivers, Frank Savy, Chris Woodman. Coached by Ken ‘Sluggo’ Slater. .7) - Photo, colour, 1991, SMS Tug-of-War Team in action L to R: Bill Griggs, Bob Thrower, Steve Drummond, Greg Richards, unidentified, Jamie ‘Fish’ McRae, unidentified, Mick Tenace. .8) - Photo, colour, 1991, ASR Tug-of-War Team in action L to R: Ian Baldwin, Graham Ragless, Mick Hogan, Geunther Ebenwaldner, Tony Grivel, Gary Seivers, Frank Savy, Chris Woodman. Coached by Ken ‘Sluggo’ Slater. SMS Tug-of-War Team in right background. .9) - Photo, colour, 1991, ASR Tug-of-War Team in action L to R: Ian Baldwin,, Graham Ragless, Mick Hogan, Geunther Ebenwaldner, Tony Grivel, Gary Seivers, Frank Savy, Chris Woodman. Coached by Ken ‘Sluggo’ Slater. .10) - Photo, colour, 1991, ASR and SMS Runners L to R: Laurie Justin, John Reid, unidentified. .11) - Photo, colour, 1991, ASR and SMS Runners L to R: Steve Linane, Russ Brodie, Geoff Webb, remainder unidentified. .12) - Photo, colour, 1991, SMS Basketball Team back row L to R: Brian Sloan, Bob Thrower, Rod Skidmore, Hamish Goetz CSM. Front row L to R: Bob White, Gill Park, unidentified (x3), Mick Tenace. .13) - Photo, colour, 1991, ASR Basketball Team back row L to R: Graham Ragless, Dave Longbottom, Pat McAllister, Geoff Ingram. Front row L to R: Tony Grivel, Mick Hogan, Bob Coote. .14) - Photo, colour, 1991, ASR Basketball Team during time out L to R: Dave Longbottom, unidentified, Geoff Ingram, Pat McAllister, Bob Coote. .15) - Photo, colour, 1991, Basketball sideline L to R: Stuart Ridge, scorers Steve Hill, Frank Franceschini, unidentified referee, Gill Park, unidentified referee. .16) - Photo, colour, 1991, Lawn Bowls action: L to R: Ken Peters, unidentified (x2), Steve Egan, remainder unidentified. .17) - Photo, colour, 1991, Lawn Bowls action: Rhys De Laine. .18) - Photo, colour, 1991, Lawn Bowls action: Paul Richards. .19) - Photo, colour, 1991, SMS Volleyball Team back row L to R: Russ Brodie, unidentified, Gill Park, Frank Franceschini, unidentified. Front row L to R: unidentified, Brian Sloan, Rod Skidmore, Bob Thrower. .20) - Photo, colour, 1991, ASR Volleyball Team back row L to R: unidentified, Andrew Lazdovskis, Chris Edwards, Mick Knight, Andrew Arman, unidentified. Front row L to R: Ross Anza, Geunther Ebenwaldner, Graham ‘Wizza’ Wybar, Keith Quinton, Wolfgang Thun. .21) - Photo, colour, 1991, ASR Volleyball Team during time out L to R: Wolfgang Thun, unidentified (x2), Graham ‘Wizza’ Wybar, Chris Edwards, Keith Quinton, Andrew Arman, Ross Anza, Geunther Ebenwaldner, Mick Knight. .22) - Photo, colour, 1991, ASR Volleyball Team bench L to R: Mick Knight, unidentified (x2), Andrew Arman. .23) - Photo, colour, 1991, Squash action: Bob Garritty. .24) - Photo, colour, 1991, 500 Cards action: L to R: Warren ‘Waldo’ Shirley, Mick Bodman, Roy Hicks, Jamie ‘Fish’ McRae. .25) - Photo, colour, 1991, personnel from ASR and SMS attend the Flag Presentation. .26) - Photo, colour, 1991, Flag Presentation L to R: ASR CO Rene van den Tol, SMS RSM WO1 Greg Francis-Wright, SMS 2IC MAJ Chris Mazur. .27) - Photo, colour, 1991, Flag Presentation L to R: ASR CO Rene van den Tol, SMS 2IC MAJ Chris Mazur, SMS RSM WO1 Greg Francis-Wright, LT Peter Crabbe. ‘Flag Day 24 May 1991’ is annotated on the negative sleeve.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, flag day, school of military survey