Large cream pottery jug with handle.domestic equipment, food consumption, jugs

Part of collection of hand and wheel pottery by Mrs. Annette Lord - 1953. Bisque fired.Pottery jug with matt glaze. White.pottery

Brown Langley Ware Bendigo Pottery jug with leadless glaze.Bendigo Potterydomestic equipment, containers, jug

Medium sized glazed jug, previously belonged to Mrs Hazel Lorna Roy of Greensborough, donated by her daughter. Pottery jug, decorated with painted flowers and gilt brick pattern. Manufacturers name on base.jugs, roy family

Miniature glazed pottery jug with handle, brown upper and cream bottom.domestic equipment, ornaments, pottery

These stoneware jugs and bowl had been perennially popular in homes for many years and are still in homes today.These jugs are kept as mementos of household items popular in the past. One jug (VC001906.3) appears to have come from Scotland in the mid 19th century and may have belonged to a member of a McGregor family.These are four brown earthenware jugs and one small brown bowl. .1 This jug has filter holes near the top of the rim and a mottled pattern on the lower part of the body of the jug with an ornamental pattern separating this mottled section from the smooth upper half. .2 This jug has a light brown lower section (both body and handle) and a darker reddish-brown upper section .3 This jug is dark brown with lighter shadings at the top section. The lip is chipped. .4 This jug has a mottled brown lower section and a smooth brown upper section. .5 the small bowl has a stipled lower section and plain upper.‘3 PT’ ‘1PT” household items, history of warrnambool, stoneware jugs, pottery jugs

Set of 3 pottery jugs in different sizes, brown mottled glaze, with molded handles and oblong base.domestic equipment, food consumption, jugs

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr Turner was born on 6 June 1885. He completed all of his schooling at Scots Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had four daughters – Frances (Nancy), Heather, Jessie and Mary. In 1920, the family moved from Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. Toby jugs date back to the mid-1760s in Staffordshire, England. The most common belief is that Toby Jugs were named for an 18th-century Yorkshire man who got the nickname Toby Fillpot after he drank 2,000 pints of Yorkshire stingo (ale). Original jugs usually showed a seated figure but over time they evolved to be character mugs, often featuring well known personalities. Simon Cellarer was the subject of a 19th century English folksong. The keys on the handle are those to his cellar, full of great wines and ales. He was always good for standing a drink for his friends. It was issued from 1936 to 1960.This item comes from a collection used by a prominent citizen of Wodonga. It is representative of a style of pottery items popular in the 1930s to 1970s in Australian households.A ceramic Toby Jug depicting the character "Simon the Cellarer". The character wears a maroon hat and white ruff. The handle is in the shape of the keys to the cellar door.Around bottom of ruff: "Simon Cellarer:toby jugs, pottery, character jugs

Part of a photocopied newspaper article taken from The Bendigo Advertiser, Saturday June 13th., 1964. It is a column conducted by 'TOORA' and is about Lydia Chancellor and her vast toby jug collection. There is also a photo of Lydia Chancellor holding one of the oldest in her collection - an interesting Clarice Cliff piece.handcrafts, ceramics, lydia chancellor collection, collection ceramics, collections, pottery, toby jugs, people

This item was used in conjunction with the Suddeth (Sudden Death) Carbon Bi-siilphide fumigator during many rabbit plagues that invaded Victoria and NSW before CSIRO introduced the myxomatosis virus in 1950.The contents of this jug was very important pre 1950 for all rural areas which suffered under the annual mice plagues, especially the wheat producing regions. Milk producers suffered from the mice by products contaminating their fresh milk containers and storage facilities. Rabbit warrens causing farm machinery instabilities and also horseback activities eg mustering herds.This glazed pottery jug has a screw on lid and a cream coloured body with a caramel brown neck. The remnance of a handle, which has been broken off is located at the top just below the the rim of the lid.On one side below the neck and within a black boundary mark "SUDDETH" and below "SMOKE MIXTURE No. 2" and sandwiched between two black lines "POISON". Below this and in five lines "PATENTED APRIL 6th '08 No. 11205(AUST.)" "PATENTED APRIL 6th '08 No. 24711 (N.Z.)" "THIS MIXTURE GOES IN BOTTLE FURTHEST FROM MACHINE" "DO NOT SPILL ON YOUR HANDS OR CLOTHING" "F, GREER, PATENTEE SYDNEY"ceramic bowls, contamination of farm produce, domestic farm hygiene, vermin extermination poisons

Brown glazed pottery milk jug with applied handle, cream interior & around rim. Estate of E. Shermandomestic equipment, food storage & preservation, jug, k165, estate of e. sherman

The Punthill Apartment Hotels 81 Derby Road Sunshine was officially opened on 11th November 2024. The Sunshine & District Historical Society display a number of items from its collection including Sunshine Pottery jugs, insulators and photograph album, buildings from the Michael Wakeling model railway collection and the H.V. McKay decorative front panel from one thier harvesters. John Alchin, curator of the society attended the official opening as one of the invited guests.A white gift box was presented to invited guests. Color photographs of the opening is included inside the box. Cinnabuns & Thuan An Business' cards who were two of seven caters at the openingPunthill Apartment Hotelspunthill apartments, derby road, sunshine, hotel

All Saints Estate is a family-owned winery established in 1864 and located on the banks of the Murray River in Wahgunyah, Northeast Victoria. Original owners George Sutherland Smith, and John Banks, arrived from Caithness, Scotland in 1852. After being involved in a range of enterprises, they established the vineyard, including a castle based on the design of The Castle of Mey in Scotland, which was built in 1864. In 1873 in London, Sutherland Smith became the first Australian winemaker to win an award at an overseas wine show. Banks died in 1876 and All Saints remained in the hands of G. Sutherland Smith and his family, until after some variable fortunes in the late 1980s, it fell into the hands of a syndicate in 1989. After being passed in at a receiver’s auction in 1991, All Saints was acquired by Brown Brothers of Milawa in 1992. It is now owned and operated by the children of Peter R. Brown. During the early 1980s, All Saints took bulk orders for different corporations such as Ansett Air Freight, packaging them in jugs as this for special occasions or functions.This jug is representative of an historic and continuing leading Australian Winemaker located in Northeast Victoria.A pottery wine jug of tradition colours featuring a lower half of natural earthenware colour and a brown glazed top section. It has a loop handle and a cork closure. Originally it also had a wax seal closure. Company information and logos are featured on each side.On side 1: "All Saints / WAHGUNYAH, NORTH EAST VICTORIA/ Tawny Port / G. SUTHERLAND SMITH & SONS / 17.5% ALC/VOL. PRODUCE OF AUSTRALIA 750 ML" On reverse side: Below an image of an Ansett Airfreight Aeroplane: "We offer to you our warmest, / best wishes for the Christmas Season/ and a year of continued/ peace and prosperity. / Merry Christmas, / from Ansett Air Freight." Underneath the jug: " Elischer / AUSTRALIA" all saints estate, australian wine industry, north east victoria wineries, viticulture australia

In 1885 John Francis Brown first planted 10 acres of vines in Milawa, Victoria. Brown Brothers was founded in 1889 when the vines were ready to produce their first crop, as John hoped his brothers would join him in this new and promising venture. This did not happen but the name remained. Since 1899 Brown Brothers has grown into one of Australia’s largest family-owned wine businesses and now operates several vineyards in Victoria and Tasmania. These ceramic jars were used by Brown Brothers in the 1970s and 1980s to package Port, Muscat and Tokay. Fortified wines packaged in this manner would maintain their quality for decades as long as the wax seal was unbroken. Elischer Pottery was started in Sandringham, Melbourne Victoria in 1947 by well-known sculptor John (Johann Wolfgang) Elischer (1891-1966) and his son, also named John, (known as Wolly). John (Snr) was born in Vienna and trained at the Academy of Vienna from 1908 to 1911 and was an Associate of the Royal Academy Vienna. John (Senior) died in 1966 and the business was continued by his son John (Wolly), until 1987 when it was sold. Prior to that, at some time, he started making pieces the brand NCP. The business continues today as “Unique Ceramics” in Highett, Victoria. They continue to use the “Elischer” brand on some of their products.This jug is representative of an historic and continuing leading Australian Winemaker located in Northeast Victoria.An earthenware wine jug created for Brown Brothers Milawa Vineyard manufactured by John Elischer Pottery. The jug has a tradition loop handle. The bottom half of the jug is a traditional beige colour with a darker brown top section. The logo is imprinted in black and is covered in a clear glaze. The cork stopper is still intact although before being opened would have been sealed with wax.Company logo on one side: at top a central male image between the text "Founding Father /John F Brown. In a central oval around the name "Milawa", BROWN BROTHERS/ VINEYARD AUSTRALIA" On base: "97"brown brothers milawa, elischer pottery, northeast victorian wineries

BHS CollectionPhotocopy of a newspaper article titled In the Viewfinder by Jack Perry titled Mining Accidents. Article mentions the number of men killed in the mines in Bendigo. Victorian Minister for Mines Angus McKay introduced a Bill, which forbade the employment of children in the mines, introduced the eight hour day, called for the licensing of engine drivers and instructed mine owners to install safety devices on mine cages. There is a photo of miners coming off their shift. There are two other articles on the page - a piece about a 'Bendigo Pottery' Milk Jug by Ken Arnold.bendigo, history, long gully history group, the long gully history group - mining accidents, jack perry, ken arnold, leighton rawlings, leanne lloyd, cornish association of bendigo, cornish newsletter, angus mckay

The ink bottle was made by the Royal Doulton company which began as a partnership between John Doulton, Martha Jones, and John Wattis an English ceramic and home accessories manufacturer founded in 1815. Operating initially in Vauxhall, London, it later moved to Lambeth, In1882 it opened a factory in Burslem, Stoke on Trent, in the centre of English pottery. The business specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stoneware's, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, wares were marked Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china table wares and decorative items. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects. Of additional significance is that it was recovered from the wreck of the Loch Ard. A shipwreck that is of additional significance as it is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections 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. Salt glazed stoneware ink bottle, large capacity, tapered lip and body, two-tone brown with some encrustation on surface, still sealed with cork. Inscription in clay. Recovered from the wreck of the LOCH ARD.Stamped into clay "DOULTON LAMBETH"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ink bottle, bulk ink bottle, writing accessory, stationery, stoneware, doulton lambeth, royal doulton, writing equipment

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

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

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

The Ovens pottery operated from 1881 to1892 they had taken over H L & E pottery at Beechworth in 1888 but mounting debts forced the Ovens company to close in 1892. During their short ten years of operation they produced stoneware garden urns, vases, cheese dishes, ginger beer bottles, butter coolers, water filters, wine and spirit barrels, bread plates, jugs, teapots, storage jars, pots, tiles, flower pots, spittoons, basins, bowls, demijohns, lidded crocks, pipes and bricks.A significant item made by an early Australian pottery in Beechworth Victoria, this company made many utilitarian items for the Victorian domestic market. It gives us today a snapshot into early Australian companies that were unable to sustain manufacturing their products into the 20th century, due in part to the rising imports of cheaper items from overseas.Red terracotta butter cooler comprising, round base with ridged lip, and bell shaped, domed lid with spherical handle on topMarked "Ovens Pottery, Co Ltd, Patd 1890, Beechworth" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, cooler, terracotta cooler, utensil, kitchen ware, terracotta, food container, food preservation, butter cooler, ovens pottery

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

W Baker and Co-produced many different types of pottery at their Fenton Potteries, Stoke-on-Trent, Staffordshire England. The company was established in 1790 by Ralph Bourne and William Baker the company was working at capacity by the end of the century. By the late 1820's Bourne and Baker, in partnership with John Bourne, had acquired additional works opposite the first in 1833. With the deaths of John Bourne and William Baker, the partnership was dissolved, and then for a short time, the business was carried on by Ralph Bourne and William Baker junior and John Baker. By the early 1840s, William Baker was running it alone and was then using 'machinery for the potteries manufacturing operations in addition to the mill that was producing the raw clay. The business was subsequently carried on by William Baker and Company that were known for the making of printed, sponged, and pearl-white granite ware for export in the early 1880s at the Fenton works between Manor and Fountain Streets. The original works on the south side of City Road were by then an en-caustic tile works, apparently still in the hands of the Baker family. The pottery works flourished under William Baker’s management and by the middle of the nineteenth century with almost 500 employees was the biggest firm in Fenton. An early piece of ironstone Staffordshire pottery now a collector's item showing the types of domestic items that were exported from England to its colonies towards the end of the nineteenth century and into the beginning of the twentieth.Water pitcher ironstone ceramic white with raised embossed Lilly of the valley decoration around handle and lip sections. Marked on bottom, "Royal stone china, Baker and Co, England" with emblem of lion, crown and unicornflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, kitchen utensil, kitchen ware, water pitcher

The Hoffman company was established in 1870 to mass-produce bricks using the Hoffman patent kiln and the Bradley and Craven brick press. Once established the company entered a period of expansion aided by Melbourne's building boom from 1870 to 1890. During this time approximately ten brick machines were in operation producing some 18,000 bricks per hour. An extensive pottery works were established initially supplying mainly tiles and drainpipes and later domestic pottery such as the company's Melrose ware. The company even had its locomotive shunt the works siding which connected with the Victorian Railways at South Brunswick. By 1890 Hoffman was the largest brick and pottery works in Victoria, however, the 1890s depression halted company expansion. The company joined the Brick Co-operative when it was formed in 1896. The cooperative regulated prices and output from member brickworks. As the depression ended business picked up and the works were expanded to increase the production of stoneware pottery, especially domestic wares. The brickworks, however, never recovered the momentum of the early period. During the 1920s and 1930s, the works gradually ran down, and following the Second World War, production reached an all-time low. The No.1 works were stripped and sold. (For further information regards Hoffman Kilns see note section of this document.) An item made in Melbourne by at the time the largest pottery works in Australia making industrial and domestic wares for the home and building industries. Stoneware Demijohn jug with cream and brown glaze. Printed around base of jug, MELBOURNE, 1929"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, melbourne, 1929, stoneware jug, hoffman potteries

The Royal Doulton company began as a partnership between John Doulton, Martha Jones, and John Wattis an English ceramic and home accessories manufacturer founded in 1815. Operating originally in Vauxhall, London, later moving to Lambeth, in 1882 it opened a factory in Burslem, Stoke-on-Trent, in the centre of English pottery. The business was specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stone wares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware's made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china table wares and decorative items. An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects.Ink bottle, brown salt glazed stoneware with narrow mouth tamped Doulton Lambeth cork missing. Stamp impressed into clay on edge "(2)32 / Doulton / Lambeth" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, stoneware, stoneware jar, doulton lambeth, kitchen ware, salt glazed

Black and white photograph of a male student attaching a handle to a jug at the Ballarat School of Mines.ceramics, pottery, ballarat school of mines, ballarat technical art school

This object and the set of five items is believed to have been made in or around the Staffordshire area in the United Kingdom. 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.The early-to-mid 20th-century ewer set is an example of items used for personal hygiene in the 19th century.Ewer or jug, cream ironstone with brown flower spray floral decoration.(Part of 5 piece set containing ewer, bowl, brush vase, soap dish lid and soap dish).flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object, ewer, jug, bathing, personal grroming, toiletry item

This Sharpe Bros. one gallon stoneware Demijohn is in excellent condition and includes its original stopper. It was made between 1904 and 1930, the date from the patent of the handle until the time that the factory no long produced returnable items. The bottle was once part of Dr W.R. Angus' household and is part of the W.R. Angus Collection and could have been purchased from Warrnambool's Sharpe Bros. factory. SHARPE BROS. 1903-1972- The first Sharpe Bros. cordial factory was opened in Dunedin, New Zealand, in 1903 by English prohibition brothers John and Percy Sharpe. Sharpe Bros. made ‘health’ beverages that were non-alcoholic drinks such as ginger beer, ginger ale, lime juice, soda and cordials. The containers of these drinks were not sold with the drinks but were marked as returnable items, to be cleaned and re-used, until this practice ceased in the 1930s. Sharpe Bros. made a niche in the soft drink market by delivering drinks by horse and cart to its customers’ homes. John Sharpe patented the unique wire spiral handle in 1904. By 1905 the New Zealand company also had factories in Australia. By 1910 the company had over 20 factories including Wanganui, New Zealand; Adelaide, Albury, Ballarat, Bathurst, Forbes, Geelong, Goulburn, Lithgow, Melbourne, Newcastle, Orange, Sydney, Tamworth, Warrnambool and Wollongong. The Warrnambool factory was established in 1919 and existed until 1951. The company won awards at Australian exhibitions for its carbonated drinks, including First Prize for its ginger beer made in the Brisbane factory. The company was taken over in 1962 by Tarax Drinks Holdings Ltd, which was in turn taken over by Cadbury Schweppes in 1972. W.R. Angus Collection- The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This stoneware Demijohn is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys. It is part of the W.R. Angus Collection, which is notable for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. It is also connected through its manufacturer Sharpe Bros. which had a branch in Warrnambool from 1919 to 1951, overlapping the time when the Angus family resided there from 1939 to the 1970s. The bottle is also significant as an example of the early-20th-century beverages found in local households and could have been purchased from the local Sharpe Bros. factory.This stoneware Demijohn is glazed, with a brown neck with internal thread and shoulders and a cylindrical cream base. The one gallon bottle has a flat, black stopper with a cork stem and a rubber, threaded tip. The ‘U’ shaped wire carry handle has a spiral of wire around the handpiece. An overhanging lip is on top of the bottle’s short neck above its rounded shoulder. The clay has been joined at the base of the neck, shoulder and body. The underneath is unglazed. The brown glazing on the shoulder has a run mark. Inscriptions are on the stopper and bottle. This container is part of the W.R. Angus Collection.Stamped in black on the shoulder: “KEEP THE / STOPPER TIGHT” Stamped in black on the body: “THIS JAR IS THE ABSOLUTE PROPERTY OF AND MUST BE RETURNED TO SHARPE BROS. AUSTRALIA / & NEW ZEALAND. ORIGINAL & LARGEST HYGIENIC BREWERY. CAUTION Persons Damaging, Willfully Retaining, Trading with or Misappropriating the Use of this Jar WILL BE PROSECUTED “ Stamped in script writing: “Sharpe Bros. TRADE - - - ED “ Embossed on the stopper: “AUSTRALIA AND NEW ZEALAND, SHARPE BROS.”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, sharpe bros., bendigo pottery, bottle, stoneware bottle, demihohn, one gallone bottle, soft drink, non-alcoholic drink, drink container, jar, jug, warrnambool soft drink, hygienic brewery, cordial factory, new zealand, australia, john sharpe, percy sharpe, non-alcoholic, spiral wire handle, ginger beer, w.r. angus collection, demijohn