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Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 5/19 Grandview Terrace, Kew, 1994
This architectural drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 5/19 Grandview Terrace, Kew by Margaret Picken.5/19 GRANDVIEW TCE., KEW / MARGARET PICKEN '94 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 5/19 grandview terrace -- kew (vic.) -
Federation University Art Collection
Work on paper, Brian Dunlop, 'Chaff Cutter' by Brian Dunlop
Framed limited edition lithograph of three men working a chaff cutter. Donated through the Australian Gifts Programme by Katherine Littlewood.printmaking, brian dunlop, harvest, chaff cutter, farming, cultural gifts -
Moorabbin Air Museum
Drawing (item) - Bristol Beaufort I Bomb Gear Technical Drawings, Assembly of Bomb Gear
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Friends of Ballarat Botanical Gardens History Group
Work on paper - Renowned Landscape Gardener, Hugh LINAKER, Argus Newspaper, death notice, Tuesday 11 October 1938, page 2 - Transcription & Original
Hugh LINAKER, born in Ballarat 1872 to Thomas & Catherine Linaker (nee Gibson). Hugh LINAKER, died 1938, death details in Argus Newspaper, Tuesday 11 October 1938, page 2.john garner collection, garner, dr, linaker, ballarat botanical gardens, gardens, landscape gardener, gardener -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Dragon' by Heather Wilson, c1985
Heather WILSON (1961- ) Born Rotherham, England. Arrived Australia 1967. Heather Wilson graduated with a Bachelor of Education (Art & Craft) from Melbourne State College in 1982, majoring in Ceramics. Artist's statement - "All of my work is hand built and explores animal forms in various ways. Animals have always fascinated me and have been a part of my work for the last 30 years. Whether appearing as dragons, exotic birds or bones, most of my images have a basis in nature. Sometimes it is just a characteristic or a quirky gesture that will inspire a piece, sometimes a photograph or a drawing done at the zoo or museum. Dragons have always given me the freedom to explore an emotion or attitude without the restrictions of a form being right, no one can tell you what a dragon should be like as they are an imaginary beast. All of my work is hand built from earthenware or porcelain. Each of them is unique and they may be similar but no two are ever the same. Most of my vessels are coil built and the dragons and birds are constructed on their bases. The pieces are fired to 1080 C in a gas kiln."heather wilson, ceramics, jan feder memorial ceramics collection, gippsland campus, dragon -
Bendigo Military Museum
Work on paper - LETTER, 27.12.1944
The letter is from Rosskeen Manse & appears to be signed off by a D MacDiarmid Esq. Letter relates to R C ALLARDICE. Ref Reg No 3704.2 for other letters from the same address. Ref Reg No 3627.5 for his service details & collection.2 page letter on light blue parchment paper, print in fine black ink in a circular rotation. .1) Written on 1 side only. .2) Written on both sides.letters, raaf -
Flagstaff Hill Maritime Museum and Village
Ceramic - Ceramic Piece, Minton Potteries, ca 1877
The ceramic piece is one of four porcelain fragments washed up from the Loch Ard wreck near Port Campbell Victoria. These fragments resemble the foot and leg of a large bird and legend has it that another bird had drifted ashore at the same time the Loch Ard peacock. This figurine is on display at Flagstaff Hill Maritime Museum and regarded as the most valuable shipwreck relic. It is believed that all four fragments could belong to another peacock or a Minton porcelain stork that had been photographed in a Home Beautiful magazine in 1928. This stork appeared to be missing a leg and foot and experts have hypothesized that the four fragments could belong to this stork, the whereabouts of which are currently unknown. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which 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, umbrella, 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 its 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 Loch Ard 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 Loch Ard 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 Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard 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 in. 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.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so 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. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Ceramic piece, broken with remnants of glaze. It has been shaped. It may be from a peacock leg section.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ceramic, porcelain, piece, fragment, ceramic bird, loch ard, shipwreck, salvage, recover, 1877, 1878, minton, shard -
Hawthorn Historical Society
Drawing - Property Illustration, 1 Anderson Road, Hawthorn East, 2000
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 1 Anderson Street, Hawthorn East by Margaret Picken.1 Anderson Street, Haw E, Margaret Picken c2000. Woodards ~ Hawthornartist - margaret picken 1950- -
Australian Lace Guild - Victorian Branch
Textile - Bedfordshire Maltese Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Australian Lace Guild - Victorian Branch
Textile - Russian lace, Early 20th century
Probably made for the tourist tradeBobbin lace. Triangular piece -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Wellingtonia Avenue Ballarat Botanical Gardens, Sequoiadendron Giganteum Trees, June 2009
Wellingtonia Avenue is an important of the Ballarat Botanical Gardens' History dating from 1863-1874.The future of Wellingtonia Avenue is questionable particularly concerning the advisability of replanting Sequoias in a less than favourable environment.1 page with 4 copies in note form.None.john garner, doctor, friends of ballarat botanical gardens, ballarat botanical gardens, wellingtonia avenue, sequoiadendron giganteum, sequoias, heritage victoria, register of significant trees, drought tender, john garner collection, gardens, ballarat -
Federation University Art Collection
Work on paper - Artwork - bookplate, Ex Libris Jack Littlewood, not dated
Framed bookplatejack littlewood, bookplates, framed bookplate -
Whitehorse Historical Society Inc.
Textile - Table Runner
Long white cotton table runner with cotton crochet edging and two lines of drawthread work - one in centre and one around four sidesmanchester, table linen -
Stawell Historical Society Inc
Textile - Costume and Accessories, c1920
Yellow Silk Tea Cosy. Padded. With Organdy embroidery in cream Pearl Cotton. Inscription Ada Edwards. Association Mrs Trickey. stawell clothing material -
Latrobe Regional Gallery
Drawing, BELLANY, John b. 1942, Port Seton d. 2013, Tightrope Walker, 1983
Charcoal on paperTitled 'Tightrope Walker' in top left corner of drawing. Signed and dated 'Bellany '83' in top right corner of drawing. -
Moorabbin Air Museum
Drawing (Item) - Vampire Drawing R.A.N A.M.O General /A8 FIG.1
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Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Rooms x 3 by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking -
Churchill Island Heritage Farm
Textile - Lace Fragment
This piece is a fragment of machine made net which would be used for needle embroidery. The first machine to produce a twisted net that would not unravel when cut was John Heathcoat’s Bobbin net or Twisted net machine invented in 1808. It was a twisted net that so closely resembled the handmade bobbin net that the two could scarcely be told apart. Heathcoat’s bobbinet machine is so ingeniously designed that the ones used today have suffered little alteration. The gauge of the mesh is calculated by the number of bobbins working per square inch of the machine’s width with the coarsest net being 4 point (or 4 bobbins per square inch) and the finest at 16 point.(cf the Leavers machine at 30 point) Assuming the paper clip to be approximately one inch long this fragment would appear to be towards the finest net that Heathcoat’s machine could produce.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine net for base of embroidery.janet amess lace collection, lace, churchill island, amess, fragment, machine, net, embroidery -
Moorabbin Air Museum
Drawing (Item) - Bell Helicopter 47-110-502 Rotor Installation Hub and Blade Assembly Metal Blades
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Moorabbin Air Museum
Drawing (Item) - Photocopies of DA78015000 DA78044000 DA78038000, Packet 23 RAAF Medical units
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Australian Lace Guild - Victorian Branch
Textile - Binche lace, 1700-1730
Use: Domestic: Household trimmingBobbin lace edging -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 38 College Parade, Kew, 1987
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 38 College Parade, Kew by Margaret Picken.38 COLLEGE PDE., KEW / MARG. PICKEN '89 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 38 college parade -- kew (vic.) -
Australian Lace Guild - Victorian Branch
Textile - Brussels Duchesse lace, 1870-1900
Use: Domestic: Household trimmingBobbin lace edging -
Moorabbin Air Museum
Work on paper (item) - CAC List of Industrial Gas Turbine Manufacturers, List of Industrial Gas Turbine Manufacturers With Their Gas Turbine Designations
CAC Collection -
Hawthorn Historical Society
Drawing - Property Illustration, 2/370 Auburn Road, Hawthorn, 1994
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 2/370 Auburn Road, Hawthorn by Margaret Picken.2/370 Auburn Rd, Haw, Margaret Picken '94. Woodards - Kewartist - margaret picken 1950- -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 24 Bowen Street, Kew, 1988
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 24 Bowen Street, Kew by Margaret Picken.24 BOWEN ST., KEW / MARG PICKEN '88 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 24 bowen street -- kew (vic.) -
Federation University Art Collection
Work on paper - Printmaking, Tji Tji Kutjara [Two Children], c1996
Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella -
Australian Lace Guild - Victorian Branch
Textile - Tape lace, Late 19th or early 20th Century
Home made or hobby laceHandkerchief Machine made tape with needle made filling stitches -
Merri-bek City Council
Work on paper - Aerosol painting, synthetic polymer, gouache and colour pencils on Magnani paper, Luke King, Portrait, 2023
Luke King’s mixed media artwork Portrait (2023) was shown in the group exhibition Fever’Dreams at the Counihan Gallery in 2023. The group exhibition explored the slippery boundaries between abstract and figurative artwork, showcasing local artists with a strong connection to Merri-bek’s arts community. King uses portraiture to highlight the importance of gesture and facial expression in personal storytelling. Exhibition curator of Fever’Dreams, Mitchel Brannan, writes of King’s work: ‘King explores the profound capacity of the human face to convey emotions within the context of constraint. Through his art, King invites viewers to reflect on the complexities of human expression and the underlying dynamics of restraint within society.’ -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 137 & 139 Brougham Street, Kew, 1998
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Two single-fronted brick Victorian terraces houses; part of a row of five. Extant in August 2020 but with alterations including a first floor addition since the drawing was made. The pen and ink drawing on drafting film was made by Margaret Picken in 1998.137 & 139 BROUGHAM ST., KEW / MARGARET PICKEN '98 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 137 & 139 brougham street -- kew (vic.)