Negative. Bendigo Pottery outdoor kilns. Dated 25 July 1987slide, bendigo, bendigo pottery, bendigo pottery kilns

historic significant of Bendigo Pottery physical assets National Trust - Bendigo Pottery (Epsom) Pty Ltd - two letters concerning the operation of the Bendigo Pottery Kilns * 1 Sept 1987 - from the National Trust, conservation officer, reporting that the kilns are being researched by David Maloney, to have a detailed knowledge of the kilns and development on site * two-page letter from the National Trust Administrator, dated 1 December 1987, written to the Chairman of the Pottery, referencing an article in the Bendigo Advertiser reporting on the Bendigo Pottery's plans for future production, noting that tourism will play an important part in plans for the pottery's futurehistory of kilns/pottery operations in bendigo, operation of the bendigo pottery

historic significant of Bendigo Pottery physical assets National Trust - three-page correspondence 23 - 28 July 1977 regarding the future of the Bendigo Pottery 1 white A4 media release from the National Trust (Central Victorian Branch) from Father John Stockdale President "stressing the historical, cultural and economic importance of the Bendigo Pottery to this region". 2 stapled green A4 page a file note dated 28 July 1987. "after protracted but amiable discussions with the Bendigo Pottery management, it is evident that the Pottery has taken care to preserve the important kins and promote the historic nature of the Bendigo Pottery" 3 pink-page from Shire Engineer, Shire of Huntly to the Managing Director Bendigo Pottery stating, "that there has been unconfirmed reports of possible future demolition works at your premises", and "bringing to their notice requirements under the: * Victorian Building Regulations 1983, regarding demolition * Regulation No. 14 Rats and Mice Destruction Regulations 1973 buildings shall not be altered or demolished without a permit from Council * Historic Buildings Act 1981regulations regarding demolition of buildings bendigo pottery bottle kilns

Sketch of the four pottery kilns at East Ringwood, corner of Velma Grove and Mount Dandenong Road (Oxford Road). The kilns shut down in 1926. Judging by the handwriting, the artist and author appears to be John Rodaughan, East Ringwood historian, whose other works include history on Burnt Bridge Hotel and other parts of East Ringwood. The back of the sketch includes a rough hand-drawn map, that appears to be of the insulator works area, between Mt Dandenong Road and Evon Avenue. The timeline includes generic milestones in blue ink and those associated with Ringwood in red writing.Kilns; D.M.

historic significant of Bendigo Pottery physical assets (Kilns and potter's wheels) assetsNational Trust - Five letters (16 April 1971 and12 November 1973) exchanged between National rust and Bendigo Pottery and University of Melbourne re the classification of the Bottle Kilns at the Bendigo Pottery Bottle Kilns (circa 1890), bendigo pottery bottle kilns

historic significant of Bendigo Pottery physical assets National Trust - Bendigo Pottery (Epsom) Pty Ltd - Media Release (two pages on yellow paper) from the Melbourne office of the National Trust noting that "while the Bendigo Pottery kilns will now be legally protected, their preservation cannot be ensured". The media release is in response to the Government's decision to list the Bendigo Pottery kilns on the Register of Historic Buildings.history of kilns/pottery operations in bendigo, operation of the bendigo pottery

historic significant of Bendigo Pottery physical assets (Kilns and potter's wheels) assetsNational Trust - Two letters (17 December 1974 and undated proforma letter) on letterhead from the owners of the Bendigo Pottery seeking information: 3098.2A from the managing director of the Bendigo Pottery (Epsom) Pty Ltd and Bendigo Pottery (Nova) Pty Ltd sent to The National Trust (Central Victoria Branch) re the classification of the Bottle Kilns at the Bendigo Pottery Bottle Kilns (circa 1859 - 1900), 3098.2B Standard proforma letter to be forwarded to an unspecified range of companies/people from Humes Limited seeking information regarding its history, and a search for most historic ceramic articles produced by the pottery bendigo pottery bottle kilns

Diggers & Mining: Bendigo. Bendigo Pottery kilns and stacked hay bales. Markings: 3, DEC7M10. Used as a teaching aid.Kodachromeeducation, tertiary, bendigo

Kilns at the Bendigo Pottery, Midland Highway, Epsom, Bendigo.slide, bendigo, bendigo pottery, kilns bendigo pottery

Kilns at the Bendigo Pottery, Midland Highway, Epsom, Bendigo.slide, bendigo, bendigo pottery, kilns at bendigo pottery

historic significant of Bendigo Pottery physical assets National Trust - two pages regarding the history of pottery and the future of the Bendigo Pottery, July & August 1987 3098.8A attributed to the Bendigo Advertiser and dated 28 May1873 noting the history of pottery making from Chian, Japan, Babylon, Egypt and Roaman pottery making. Article stamped received 30 Sep 1987and is incomplete as second page is not attached. 3098.8B undated typed history of pottery making in Victoria and in Bendigo in particular (article has damage in upper LH cnr. and has been folded above the last paragraph).3098.8B has scribbled notes and a basic sketch on the rear noting meetings with Sir Henry Bolte, Mr. Hamer, John Bull and ring Andrew bendigo pottery bottle kilns, history of kilns/pottery operations in bendigo

historic significant of Bendigo Pottery physical assets National Trust - Two letters exchanged between R.A. Horsburgh of Robert Herriot & Associates, Architects (27 & 28 October 1977) and the Central Victorian Branch of the National Trust (28 November 1977) providing architectural comment (with five dot points) on proposed alterations and extensions to the existing stables buildings at the Bendigo Potterybendigo pottery bottle kilns, bendigo pottery stables conversion to shop

historic significant of Bendigo Pottery physical assets National Trust - Four architectural plans for the upgrade of the stables Gallery and Shop at the Bendigo Pottery Epsom; by Robert Herriot & Associates, Architects; dated October 1977: 3098.4A Architectural plans 423/1 - missing 3098.4B Architectural plans 423/2 - orthogonal perspective looking south 3098.4C Architectural plans 423/3 - floor plan of proposed extensions to Stables Gallery, Bendigo Pottery 3098.4D Architectural plans 423/4 - proposed south and east elevations, and plans stables gallery as existing 3098.4E Architectural plans 423/5 - site plan of gallery including entry off Miland Highwaybendigo pottery bottle kilns, bendigo pottery stables conversion to shop, architectural plans

historic significant of Bendigo Pottery physical assets National Trust - four-page copy on the operation of typical downdraft kilns, includes a site plan of the Bendigo Pottery Page 1 - Paul A Scholar, Bendigo Pottery, Lowden Publishing6. 1979 Kilmorebendigo pottery bottle kilns, operation of a downdraft kiln

historic significant of Bendigo Pottery physical assets National Trust - four-page communications regarding the future of the Bendigo Pottery, July & August 1987 Two A4 notes from the National Trust * National Trust / Bendigo Pottery meeting agenda 28/07/1987 working towards preservation of the historic kilns * 29/07/1987 National Trust to Historic Buildings Council the NT strongly supports the registration of the Bendigo Pottery, Epsom approving transfer of the kilns top the Classified Lists An article (two pages) in the Bendigo Advertiser dated 18/08/1987 "Pottery Safe for Now" and "Kilns retained in plan for world-class attraction".retention of the kilns at the Bendigo pottery, Epsom bendigo pottery bottle kilns

historic significant of Bendigo Pottery physical assets National Trust - two documents referencing: 3098.9A Two-page, investigation for possible inclusion of the Bendigo Pottery on the Register of Historic Buildings, by the Historic Buildings Council; noting a meeting on Wednesday 28 October 1987for interested parties to attend. 3098.9B Single page, the classification of the Bendigo Pottery by the National Trust of Australia in August 1987. The NT strongly supports the inclusion of the Bendigo pottery on the Register of Historic Buildings.history of kilns/pottery operations in bendigo, classification of the bendigo pottery

historic significant of Bendigo Pottery physical assets National Trust - Bendigo Pottery (Epsom) Pty Ltd - newspaper article The Age, 23 July 1987, reporting on the sacking of 80 staff at the pottery; due to the loss of a contract to make mugs for the Bicentennial Authority. The article refers to Mr. IAn Preston who was sacked / laid off after 33 years' service. history of kilns/pottery operations in bendigo, operation of the bendigo pottery

Clarendon PLC celebrated its 125th anniversary on 11-12 September 1993. Events included a dinner on Saturday evening at the Balanada Room, Main Road, Ballarat, a Sunday morning service in the College Chapel, Sturt Street campus and an informal luncheon in Watson Hall, Mair Street campus. These bowls were hand made by Susan Gillett (Hoskins) CPLC 1966 as gifts provided to old collegians attending the event. Three hand painted fire-kilned pottery bowls with blue and yellow decoration to border and base of bowlPainted inside bowl: C.P.L.C. 125 YEARS Inscribed on base: SUSANclarendon-presbyterian-ladies-college, 1993, 125th anniversary

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Three colour photographsactivities, clifton pugh, dunmoochin

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Two colour photographsactivities, clifton pugh, dunmoochin, leon saper

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Colour photographactivities, clifton pugh, dunmoochin

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Three colour photographsactivities, clifton pugh, dunmoochin

eleven art works in black pen sketches of Bendigo by Jan Neil dated 1972- 1977 156A Bendigo Pottery, Bottle Kiln, Epsom 1972 156B Gold Mines Hotel, Bendigo 1972 156C Bendigo Post Office 1972 156D National Bank 1973 156E Birney Car & Central Deborah Mine 156F Law Courts 1973 156G Law Courts 1980 156H Bendigo Town Hall 1972 156I Shamrock Hotel 1972 156J Fortuna Villa, Chum Street1980 156K Fortuna Villa 1977Jan Neilwes harry, jan neil, drawings

Blue hard covered book with hand written reports from the Art Principal, H.H. Principal. Two letters are pasted into the front, one from Frank Tate of the Victorian Education Department. 26 April 1918 - Proposed pottery industry in Ballarat 31 May 1919 - Erection of pottery kiln, with Selkirk bricks. 28 June 1918 - Daylesford Technical Art School. 30 August 1918 - Resignation of C. Campbell, instructor of Photography. 25 October 1918 - Returned Soldiers Classes in Art Metal and Signwriting. 25 October 1918 - Herald Shield Trophy 28 July 1922 - Ragged Boys Home, Tennis Court 22 August 1924 - Letterhead of the Attorney General Victoria concerning the transfer of the Ballarat Supreme Court to the Ballarat School of Mines. 15 October 1924 and 20 May 1925 - Carvings of 24 panels decorated with Australian birds, animals and flora to form part of the decoratve scheme for the Villers Bretonneux school. 21 April 1926 - White Flat is available for the use of the school. 29 February 1928 - Donation of a linotype machine by The Courier. 27 June 1928 - Internal Sewerage to the Ballarat Technical Art Schoolballarat school of mines, ballarat technical art school, h.h. smith, returned soldier teachers, harold herbert, ponsonby carew-smyth, f.h. hoskin, carpentry workshop, donald i. johnston, herald shield, kenneth moss, hilda wardle, miss bell, margaret bell, millinery, j.y. mcdonald soldiers memorial, john rowell, repatriation building, stained glass classes, dressmaking fees, ballarat supreme court, m. baird, carvings, villers bretonneux school carvings, ethel kift, m.c. young, macrobertson scholarship, elvie ford, edwin robinson, annie hauser, robina mackie, e. quick, tennis court, w.e. gower, colin hunt, white flat, frank hall, effie holmes, mavis beacham, henry harvey, plaster casts, pearl frickie, w.r. dean, marjery henderson, sewerage, laura crouch, ballarat teachers' college, gertie gough, gwen nagle, lynda clark, jack walker, cyril gibbs, repatriation, donald johnston, ceramics, kiln, c. campbell, photography, jean maude, sylvia copperwaite, olga dulfer, may pollock, margaret bailey, stella clarkson, may norrie, nellie nicholls, nancy govan, edith curnow, kathleen windsor, betty johnson, edna pearson, elvie thege, gwen neagle, effie george, gwen tunbridge

Postcard: On back of card 'Bendigo Pottery (Epsom) 1857, Australia's oldest pottery' Image shows brick kiln on LH side, building with kilns and chimneys in background. On back; Roser Series Colorview No. 887, copyright, published by the Rose Stereograph Co., Glen Waverley, Victoria'Roser Series, No. 887, Copyright'bendigo, buildings, bendigo pottery, bendigo pottery, rose series, kiln, pottery

Made in Nottingham, England by K. Evans. K. Evans Potteries in Nottingham has an intriguing history. During the construction of the Manchester, Sheffield & Lincolnshire Railway Company’s new London line (now known as the Great Central) through Nottingham, several objects of antiquarian interest were discovered. Among these treasures was an ancient pottery kiln, buried for centuries beneath the soft yellow Bunter sandstone rock that forms a significant part of the city’s foundation. The excavation took place near the point where Parliament Street intersects the railway, at a depth of ten to twelve feet below the original surface. The credit for rescuing many of these pottery fragments from destruction goes to Mr. C. B. Wright, of the late firm I. & I. C. Wright & Co., Bankers. His dedication and ingenuity allowed him to piece together broken parts, sometimes assembling as many as thirty or forty fragments to form a single complete specimen. These pottery pieces provide a fascinating glimpse into the past. Here are some details about the pottery found at K. Evans Potteries: Material: The pottery is made of coarse, reddish-brown clay. Construction: Evidence suggests that the potter’s wheel was used in their creation. Ornamentation: The vessels lack decorative patterns, except for indented or grooved handles. These handles exhibit a crude attempt at foliation, with the potter’s thumb leaving its mark. Function: The pottery likely served practical purposes, such as carrying water, ale, mead, or wine. Stew jars and drinking vessels were also part of this collection. This discovery remains almost unique, and its age continues to intrigue local antiquaries. While theories about its origin are scarce, the K. Evans Potteries offer a fascinating glimpse into Nottingham’s ancient craftsmanship. Cylindrical brown pottery jar (Bottle) with broken neck section. Uneven and work appearance of glazed surface.'... Stone bottles. K. Evans. ...Potteries of Nottingham'ceramics, pottery, bottles

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. The Barrowfield pottery was founded in 1866 by Henry Kennedy, an Irish native, in the Camlachie district east of Glasgow, close to the Campbellfield and Mount Blue potteries. It is believed that Kennedy started with just one kiln but by 1871 was employing forty men and six boys and such was the success of the enterprise that by 1880, no less than eight kilns were in operation and a year later one hundred and the pottery was employing eighteen people. Stoneware bottle production was a mainstay of the pottery and over “1500 dozen” were being turned out daily along with other wares, including 30-gallon ironstone containers. With so many kilns in operation, six hundred saggars were required every week but, unlike some potteries, these were made on the premises from Garnkirk and Glenboig fire clays. Pottery production reaches a high scale which presented a high risk of fire and Barrowfield was no exception. In April 1884 heat from a kiln set fire to the roof resulting in significant structural damage, the loss of unfinished wares alone amounting to £10,000 a very substantial sum in 1884.  The pottery recovered from this reverse but then Henry Kennedy died in July 1890. The terms of his will indicated that he and his sons John and Joseph were partners and this was reflected in a change of title in the 1891-92 Post Office Directory to Henry Kennedy & Sons. Despite the growth of the business there was still space enough, however, to allow china, earthenware and glass retailers Daniel and John McDougall to commence production of their Nautilus wares there in 1894, the success of which allowed them to soon move to permanent quarters at the empty Saracen Pottery, Possil. In around 1900 John Kennedy left to resurrect the liquidated Cleland Pottery and although Barrowfield remained listed as Henry Kennedy & Sons, brother Joseph was in control. In 1911 Henry Kennedy & Sons Ltd was formed, with two of the four directors being the Kennedy brothers. The pottery’s growth to this point was reflected in the eighteen kilns the largest pottery kilns then recorded in Scotland.   However, the disruption of the First World War and the combined effects of subsequent economic depression, US prohibition, hygiene regulations and competition from alternative materials posed severe challenges for stoneware potteries in the post-war years as they competed with each other for diminishing markets. Competitors such as Eagle and Caledonian Potteries fell by the wayside and finally, Barrowfield closed in 1929. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Stoneware was produced at Barrowfield pottery for the domestic and export markets, with South America being a large market. Barrowfield stoneware can be found throughout the world. Its longevity and abundant production makes the subject item a significant addition to the Flagstaff Hill Maritime Museum collection.Bottle, salt glazed stoneware, beige, some discolouration above base. Chip on base and on neck. Inscriptions stamped near base.Makers lozenge stamped, H Kennedy Barrowfield Pottery GLASGOW at base.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, h kennedy pottery, stoneware, ironstone, pottery, barrowfield glasgow

Tony NANKERVIS A graduate student from the Gippsland Centre for Art and Design (GCAD), Tony Nankervis has been a pioneer of the long wood-fired ceramics technique in Australia. He retired from lecturing at Southern Cross University after working there for 19 years in 2004. He describes his work as 'one-off functional table ware', which includes highly-individualised everyday table items. Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. The wood ash and salts blush the ceramic pieces in the kiln, with finished work taking on the nature of the firing process, which has been described as painting with fire.Two woodfired earthernware cylindrical forms by Tony Nankervis. tony nankervis, woodfire, jan feder memorial collection, jan feder, ceramics, gippsland campus, jan feder memorial ceramics collection, alumni

Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire."(https://www.strathnairn.com.au/studios/artist-in-residence/montessa-maack-ursula-burgoyne-jen-lyall-and-vicki-grima-5ndd6, accessed 09 July 2021)Tony NANKERVIS Tony Nankervis taught ceramics from 1984 when the university was the Northern Rivers College of Advanced Education from 1984. before moving to Southern Cross University (SCU) in 1994. He retired from full time teaching in 2004. Nankervis was a pioneer of the long wood-fired ceramics technique in Australia: a technique he has been practising since the late 1970s Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire. There are particular qualities that only come from firing in that way, he said. "If you see some of these older ceramics, particularly from Asia, the surface qualities are discernible from the surfaces generated by post-Industrial fuels." (https://www.scu.edu.au/engage/news/latest-news/2004/leading-australian-potter-who-paints-with-fire-retires-from-lecturing-at-scu-after-19-years.php, accessed 09 July 2019)Three Lidded Woodfired Cylinders ceramics, jan feder memorial ceramics collection, tony nankervis, tony nankervic