Sepia Carte de Visite portrait of young man wearing coat, collar and tie."J G Herbert Alberts 1872".j g herbert alberts

Photo of the family of John Garibaldi Roberts, of the Melbourne Tramway & Omnibus Co on an ESCo tram at Mt Pleasant, 18/12/1905. He later became the company's Chief Accountant and then the MMTB Manager of the cable system in Melbourne. Photo sourced by Chris Long from one of two albums of Robert's photos held by the State Library of Victoria. See also source document.Yields information about J G Roberts, a support of the Arts and a senior tramway manager.Digital image from an Album compiled by J G Roberts in the State Library of Victoria - see page 41 of https://find.slv.vic.gov.au/permalink/61SLV_INST/1g4vb22/alma9937062263607636Photo marked "@Mt Pleasant, ? JGR, Theresa? taken by Frank, Dec 18, 1905".tramways, cable trams, j g roberts, chief accountant

Photograph of Presentation to Mr J. G. Cannon, Assistant Chief Inspector of Special Schools 1958. Also named on back of photo are: Mr Griffiths H.T. (Head Teacher) SS4431 Children's Cottages; Miss Roffe H.T. SS4679 Croxton Special; Miss Richards H.T. Janefield Special ; Miss Trewhella SS2784 Montague Special. Taken on Friday 8/8/1958.Black and white photographCaption on back: "Presentation to Mr J. G. Cannon 1958..."janefield, janefield special school, janefield staff

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as it is believed to be an early example of the SOL trademark made between 1913-1925.Ironstone wash jug and bowl set, white, often referred to as a ewer and bowl. Both jug and bowl have matching raised embossing of panels with floral motifs within them.Both items have marks "Ironstone China Reqd SOL 39/4/3 STG Meakin England" Trademark of J & G Meakin with sun emblem .flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug china white and basin, jug, jug and basin, jug & bowl, ewer, bowl, ewer & bowl, j and g meakin, ironstone ware, bathing, washing, personal hygiene

This framed certificate was presented to J. G. Boyes in recognition for his many years of membership and service to the Bacchus Marsh Lodge of the Grand United Order of Oddfellows. The certificate was presented at a social evening held at the Bacchus Marsh Mechanics Hall on Saturday 10 September 1938. The social was held to mark the 70th anniversary of the Bacchus Marsh Lodge for the Grand United Order of Oddfellows. A detailed report about the social appeared in the Bacchus Marsh Express, 17 September, 1938, page 5, ''Oddfellows Social', accessible via Trove, http://nla.gov.au/nla.news-article262579717 . Large framed certificate. Glass covered.Grand United Order of Oddfellows Friendly Society presented to Brother J. G. Boyes 10 September 1938.grand united order of oddfellows friendly society, friendly societies, j.g. boyes, bacchus marsh lodge no. 1324

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Serving vegetable bowl with two handles on either end, plus a lid with a handle on the top lid also has a pattern around the edge.Inscription to base "J & G Meakin Manley England " warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish

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

Account from John G. Edwards, Printer. The Bendigo Independent General Printing Office, dated Oct 1 1886 for Funeral Notice Sep 1886 for Wilson 4/6. Total 4/6 Marked paid 25/10/86. Mr. Rowe written on the account and 100 in the top left corner.societies, aof, correspondence, ancient order of foresters no 3770 collection - j g edwards, the bendigo independent general printing office, court king of the forest, mr rowe, wilson

Account from John G. Edwards, Printer. 'Bendigo Independent' General Printing Office, dated Apl 1 1886 for Funeral Notice Mch 22 1886 for Coath 4/6 and Mch 29 Hosking 4/6. Total 9/- Marked paid 4/5/86.societies, aof, correspondence, ancient order of foresters no 3770 collection - j g edwards, the bendigo independent general printing office, court king of the forest, coath, hosking

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, j. g. taylor, sturt

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

James Garland Colliver lived and worked in Linton between 1863 and 1875, when he moved to Donald. He was actively involved in Linton's business and community life. (See Colliver family file at LDHS.) This photograph may show two adjacent business premises on the east side of Sussex Street, north of Clyde Street: Edwin Ball or Ball Brothers, blacksmiths, and J.G. Colliver, "Machinist". The Ball and Colliver families were related and are understood to have worked collaboratively. A plan of Sussex Street drawn up in 1871 (in LDHS collection -Reg. no. 2013-25) shows an allotment on the east side owned by 'Colliver' next to a slightly larger allotment owned by 'Ball'.Original small, sepia photograph showing premises of "J G Colliver - Machinist" with workmen in front."J G Collivers shop about 100 years ago".j. g. colliver, wheelwright, carpenter, coachbuilder, workers

Catalogue No. 206 of the J. G. Brill Co. of Philadelphia PA, titled "Brill Trucks" on front cover and "City and Interurban Trucks" on page 1. Comprises: Card cover very light grey on outside, grey inside which is a larger size than that of the rest of the book. Has the names of the J. G. Brill associated companies (American Car Company of St. Louis, G. C. Kuhlman Car Co. of Cleveland Ohio, Wason Manufacturing Company of Springfield, Massachusetts and Compagnie J. G. Brill, Paris France) as well. On the inside of the front cover and on the inside back cover are patterns involving the Brill logo. To the printed catalogue is a matching out 4pp again with the same Brill logos. This sheet is the same size as the text pages. Forty page printed text on a heavy gloss manila colour art paper. Front cover gives details of Brill's office addresses, and agents, including the Australasian agent - Noyes Brothers. Page 3 gives an introduction to the quality of Brill trucks and page 39 gives an index to the various trucks and components. Each truck type has a photograph, parts list and dimension details. Trucks covered are: Radiax, 21E, 22, 22E, 27E, 27F, 27G, 27MCB, 39E, 50E. Equipment detailed are the Half-Ball brake hanger, oil retaining center bearing, standard journal (axle) box, solid forged side frames and axle data. Page 38 details the information to be provided when ordering trucks. Image of each sheet added 25/3/2015.On front cover, date stamp of ESCo, Ballarat "1 Apr 1914". The printers signature is shown on page 40.trams, tramways, 21e trucks, 22e trucks, j. c. brill co., bogies, interurban

Large white ironstone china bowl. Made by J & G Meakin. Hanley England. 15' in diameter.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, china bowl, bowl

Under Twelve Boys basketball team J Webster R McFadzean J Whatley J Costigan G Agutter K Hawkins B Fiedler runners up in Summer Competition Lakes Entrance VictoriaColour photograph of Under Twelve Boys basketball team J Webster R McFadzean J Whatley J Costigan G Agutter K Hawkins B Fiedler runners up in Summer Competition Lakes Entrance Victoriasports, basketball, recreation, clubs

Certificates won by J G Scott at Rutherglen Show. 32.14 First Prize - Dish of Strawberries, blue.Prize certificate for 1910, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. First Prize - Dish of Strawberries, blue."Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty First Annual Exhibition / Wednesday, 19th October, 1910" / "Harry O'Brien, Secretary"rutherglen show, rutherglen & murray valley agricultural & horticultural society, rutherglen agricultural society, j g scott

Certificates won by J G Scott at Rutherglen Show. 32.16 First Prize - Collection of Vegetables, blue.Prize certificate for 1910, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. First Prize - Collection of Vegetables, blue."Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty First Annual Exhibition / Wednesday, 19th October, 1910" / "Harry O'Brien, Secretary"rutherglen agricultural society, rutherglen show, j g scott, rutherglen & murray valley agricultural & horticultural society

Certificate won by J G Scott at Rutherglen Show. 32.19 First Prize - Dish of Strawberries, bluePrize certificate for 1911, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. First Prize - Dish of Strawberries, blue"Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty Second Annual Exhibition / Wednesday, 18th October, 1911" / "Harry O'Brien, Secretary"rutherglen agricultural society, rutherglen show, j g scott, rutherglen & murray valley agricultural & horticultural society

Photograph. Black & white photograph of G. J. Coles & Co. Staff mounted on grey card & taken outside G. J. Coles & Co. Store. Gertrude Perry directly under the O in Coles sign. 30 individuals. On the back: Staff G. J. Colesperson, group, employees, gertrude perry collection, g. j. coles & co. staff photograph

Certificates won by J G Scott at Rutherglen Show. 32.11 First Prize - Carrots, green.Prize certificate for 1908, Rutherglen & Murray Valley Agricultural & Horticultural Society. Green certificate - First Prize. Won by J G Scott at Rutherglen Show for Carrots. "Rutherglen and Murray Valley / Agricultural & Horticultural Society / Twenty Ninth Annual Exhibition / Wednesday, 28th October, 1908" / "A.H. Thompson, Secretary"rutherglen show, rutherglen & murray valley agricultural & horticultural society, j g scott

Certificates won by Scott, J G at Rutherglen Show. 32.15 First Prize - Two Bunches Carrots, blue.Prize certificate for 1910, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. First Prize - Two Bunches Carrots, blue"Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty First Annual Exhibition / Wednesday, 19th October, 1910" / "Harry O'Brien, Secretary"rutherglen agricultural society, rutherglen show, j g scott, rutherglen & murray valley agricultural & horticultural society

Certificates won by J G Scott at Rutherglen Show. 32.17 Second Prize - Dish of Peas in Pod, pink.Prize certificate for 1910, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. Second Prize - Dish of Peas in Pod, pink."Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty First Annual Exhibition / Wednesday, 19th October, 1910" / "Harry O'Brien, Secretary"rutherglen show, j g scott, rutherglen & murray valley agricultural & horticultural society

Certificates won by Scott, J G at Rutherglen Show. 32.18 Second Prize - 6 Head Cabbage, pink.Prize certificate for 1910, Rutherglen & Murray Valley Agricultural & Horticultural Society, awarded to J G Scott. Second Prize - 6 Head Cabbage, pink."Rutherglen and Murray Valley / Agricultural & Horticultural Society / Thirty First Annual Exhibition / Wednesday, 19th October, 1910" / "Harry O'Brien, Secretary"rutherglen show, j g scott, rutherglen & murray valley agricultural & horticultural society

Used as a vegetable dish and donated by Alice Slatter.White oval-shaped china dish with lid. Lid has handle. Bottom has broken handles. Raised base. dish china domestic-storage meakin-j&g

All three certificates won by J G Scott. 32.3 Certificate for Bouquet of Wild Flowers, Beige.Prize certificate for Rutherglen Agricultural Society 1921, printed in black on beige card, with decorative printed edging, Certificate won by Scott, J G. for Bouquet of Wild Flowers.On front of card: "1921 / Rutherglen Agricultural Society / Thirty Eighth Annual Exhibition / Wednesday, October 19th, 1921 / Certificate / Section 25, Class 29 / For Bouquet of Wild Flowers / M J. Scott / H.J. Furze, Secretary / T. Drenen, Printer, Rutherglen"rutherglen show, rutherglen agricultural society, flower show, j g scott

All three certificates won by J G Scott. 32.5 Certificate - Collection of Wild Flowers, Beige.Prize certificate for 1921, Rutherglen Agricultural Society. Beige certificate with black printing, decorative printed edging. Certificate won by Scott, J G. for Collection of Wild Flowers.On front of card: "1921 / Rutherglen Agricultural Society / Thirty Eighth Annual Exhibition / Wednesday, October 19th, 1921"rutherglen agricultural society, rutherglen show, j g scott