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Ararat Gallery TAMA
Textile, Silke Raetze, Forgot To Be Pretty, 2008
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Federation University Art Collection
Painting - Gouache, 'Annual Royal Show' by Nornie Gude, c1935
From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. She studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. Nornie Gude won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed painting showing two horses jumping over a fence.art, artwork, gude, royal melbourne show, poster, available, horses, animals, alumni, nornie gude -
Bendigo Art Gallery
Painting, Peter TYNDALL, A Person Looks At A Work Of Art/someone looks at something LOGOS/HA HA/ The Triumph of Charing Cross over Bednego Creek/ (after The Triumph of Christianity over Paganism,/ by Tommaso Siciliano), 1997
Not signed Not datedcontemporary art, conceptual art, australian artist, painting, looking, bendigo, central victoria, charing cross -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Richard Armstrong Crouch, b1868, Prime Ministers' Busts, Ballarat Botanical Gardens, 5/4/2010
R.A. Crouch gave generously in the form of gifts and bequests to the Ballarat Art Gallery and the city of Ballarat. Perhaps his most significant gift were the first busts of Australian Prime Ministers in the Ballarat Botanical Gardens. His legacy, enabled the making of subsequent busts which came to form the Prime Ministers' Avenue.The Prime Ministers' Avenue in the Ballarat Botanic Gardens has taken on national significance over time and is seen as an important place to visit.One short paragraph and a coloured photograph of a Crouch family grave dated 5/4/2010Nonedoctor john garner, ballarat botanical gardens, prime ministers avenue, richard armstrong crouch, politician, prime ministers' busts -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Death Certificates of People Associated with the Ballarat Botanical Gardens 1880-1910, Medical Diagnosis Related to Contemporary Documentation and Reports
The Death Certificates discussed are of notable people who made important contributions to the establishment and development of the Ballarat Botanical Gardens.The analysis of the death certificates provides insights not only to the practice of medicine at the turn of nineteenth century Ballarat but into the lives and state of health of a few important people at that time.5 typed pages of a talk in black ink.Several "typos" corrected in black biro, pp.2,3,and 4.john garner collection, garner, dr, death, certificate, ballarat botanical gardens, gardens, ballarat, personalities, claxton, ham, mcdonald, morey, rooney, stoddart, thomson, cause of death, statistics -
Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
City of Greater Bendigo - Civic Collection
Painting - Portrait of William Abendigo Thompson, c 1890
William Abendigo Thompson was English bare-knuckle boxer born in Nottingham, 1811- 1880 and whose name is (allegedly) borne by the City of Greater Bendigo. One of 21 children he started fighting aged 18 and began prizefighting aged 21. His career spanned from 1832–50, and is said to have lost only one fight. Later in life, after spending time in prison he became a Methodist evangelist preacher. While the artist and date of production of this work are unknown the initials JJLh (or n?) are just legible lower right on canvas. Other clues for an approximate date of creation include the similarity in composition of this painting to a popular aquatint of Bendigo by Charles Hunt Senior (1803 - 77). Based on the markings on the back of the canvas for Rowney and Co and the address given, we can ascertain that the canvas itself was manufactured between 1884 - 1896. The painting also includes an extract of the Conan Doyle poem 'Bendigo's Sermon' which was written in 1911. Given these three factors, a date for the painting can be surmised as post 1911. Stretched made by George Rowney’s is one of very few artists’ supply businesses with origins in the 18th century still trading today, as Daler-Rowney, albeit no longer in family hands. The business has been a significant supplier of canvases and panels from the 1810s. Naive, Primitive, British0348.1 Framed oil painting of the bare fisted knuckle fighter William Abendigo Thompson painted in a naïve style. Depicts Thompson, bare chested in an outdoor fighting ring with his fists raised with a water bucket at this feet. 0348.2 Typed note re the history of the naming of the City of Bendigo.Top centre front of painting; You didn’t know of Bendigo? That knocks me out! Who’s your board school teacher? What’s he about? Chock a block with fairy tales – full of useless cram And haven’t heard o' Bendigo the pride of Nothin’ All sing along together lower centre painting; William Abendigo Thompson centre Inner wooden frame; bendigo back of canvas; Geo. Rowney & Co 64 Oxford Street and Princes Ball Piccadilly London W sticker lower centre back of frame; donors name and address. Initials illegible lower right.city of greater bendigo sport -
Clunes Museum
Work on paper - ENID STEART
.1 WHITE HANDMADE NAME TAGWITH PINK RIBBON AND SAFETY PIN, BLACK DRAWING OF A MAGPIE SITTING ON A POWER LINE - MRS MAGPIE WRITTEN ON THE BOTTOM OF THE CARD. .2 GIRL GUIDES ASSOCIATION OF AUSTRALIA COMMISSIONER'S WARRANT FOR MISS ENID STEART 27/11/1984 .3 WARRANT ENDORSMENT RECORD OF TRAINING DAY 1 ENID STEART 28/2/1988 .4 AUSTRALIAN BOY SCOUTS ASS. WARRANT CERTIFICATE FOR ENID STEART APPOINTED AS A SCOUTER DETAILS OF TRAINING COURSE FOR NEW SCOUTERS, CERTIFICATE CARDS FOR TRAINING COURSES 1964; 4/4/65; 3/4/65; 30/7/64 .5AUSTRALIAN BOY SCOUTS ASSOCIATION, VIC-BRANCH - WARRANT CERTIFICATE FOR MISS ENID E STEART SIGNED BY CHIEF COMMISSIONERO OF VICTORIA AND CHIEF SCOUT OF VICTORIA. ON THE BACK: WARRANT NO A 4229 SIGNED BY E E STEART 1/10/64.2 ON BACK: ENDORSED: JOAN HARTLEY 11 JUNE 87/ WARRENT CANCELLED 19/4/90clunes girl guides, enid steart, boy scouts -
Korowa Anglican Girls' School
Textile (Item) - Blazer Pocket, Crested Blazer Pocket worn since 2006
Features School crest in use since 1920. Motto 'Palma Non Sine Pulvere' from the Latin 'No Palms Without Dust' meaning No Reward Without Effort. Features the Archbishop's Mitre for our Anglican connection and palm leaves of celebration. Since 2006 in cherry and silver colours. -
Whitehorse Historical Society Inc.
Textile - Collar
Cream collar made of fine spotted mesh with edging of crochet medallions. 24 medallions of alternating patternscostume accessories, collar accessories -
Australian Lace Guild - Victorian Branch
Textile - Machine made lace: Chemical lace, Early 20th Century
Chemical lace. The design was machine embroidered onto a base fabric which was then chemically dissolved away.Collar with standing neck edge. -
Federation University Art Collection
Painting, Williams, Albert E, 'Celtic Art Design' by Albert E. Williams, 1936
Albert E. WILLIAMS (1899-1986) Born Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. From its inception in 1914, it was 30 years before the first candidate achieved the certificate’s exhaustive requirements. 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.Mounted original illuminated artwork in Celtic style"Design for Title Page, in Historic Style of Ornament." "Submitted by Albert E. Williams, Technical Art School, Ballarat, for Art Teacher's Certificate" "Celtic Art. A treatise on the history and peculiarities of Celtic Art with numerous illustrations in colour taken from ancient national manuscripts in the British Museum and other libraries." "Ballarat A.D. 1936". Monogram of AW forms part of the artwork.art, artwork, albert e. williams, celtic art, ballarat technical art school, art teacher's certificate, illumination, title page, design -
Federation University Art Collection
Painting - Artwork - Painting, McGuinescan, Justin, 'Nude Study' by Justin McGuinescan
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.Nude study paintingart, artwork, justin mcguinescan, painting, nude, available (horsham), horsham campus, wimmera campus, horsham campus art collection -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: UTILITY BAG, 1900 -1950
Textiles. Calico flour bag. Blue printed frame with following wording. "Contents 5lbs nett. Made in Bendigo. Quality and Value "Golden North Self Raising Flour. Made under the most Hygienic Conditions by the Golden North Manufacturing Co. Guaranteed to contain full strength Cream of Tartar The Flour that gives 100% Cookery Success" Boltons Print Bendigo. Three bags a. Good condition.Several small stains b. Faded with knots inneach corner c. Faded. Several small stainstextiles, domestic, utility bag -
Gippsland Art Gallery
Painting, Fox, Allan, Untitled, 2016
Donated by the artist, 2019Gouache on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting, Domenico Micich, 'Girl on Swing' by Milivoj Micich, 1971
Domenico Milivoj MICICH (1949- ) Born Zadar, Croatia Arrived Australia 1960 Domenico Micich studied at the Ballarat School of Mines Art School from 1968 to 1971. Described as a portrait artist, Micich taught art for many years in Ballarat. This is one of a number of paintings from Ballarat School of Mines Students produced for the opening of the new Mount Helen campus. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.An oil painting of a small girl on a swing in an outdoor setting. art, artwork, domenico micich, milvoj micich, swing, playground, oil on canvas, alumni, available -
Swan Hill Regional Art Gallery
Painting, WALKER, Alan, Winter afternoon, Swan Hill, 1974
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Darebin Art Collection
Work on paper - John Miller Marshall, John Miller Marshall, Untitled, 1890
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Gippsland Art Gallery
Painting, Seehusen, Walter, Pioneer Tent, 1896
Donated by Ms Joan Edwards, 2017Oil on boardgippsland, artwork, permanent collection -
Federation University Art Collection
Work on paper - Printmaking - Aquatint, Model in Studio, 1988
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 acquatint etching of a model in a studio.art, artwork, horsham, barbara guille, alumni, printmaking -
Ararat Gallery TAMA
Textile, Frances Burke, Gum Blossom (place mat), c. 1955
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Whitehorse Historical Society Inc.
Textile - Doyley
Square white cotton doyley with white embroidery and drawn thread work. Drawn thread border.handcrafts, needlework, manchester, table linen -
Ararat Gallery TAMA
Textile, Frances Burke, Periwinkle
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Latrobe Regional Gallery
Painting, A.P.M Forester, Pine Planter, 1976
Oil on canvasSigned lower right corner 'Jungwirth'. Not dated -
Geelong Gallery
Painting - The pier head 1910, FORBES, Stanhope, 1910
Oil on canvas -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Bust of Gordon Unveiled, The Ballarat Courier, 25, 27 October 1941, October 27, 1941
The first article announces the unveiling of Gordon's bust and the second gives an account of the unveiling of Gordon's bust outside the Gordon Memorial Cottage in the Ballarat Botanical Gardens and something of Gordon's connections.Many Literary Societies were represented at the unveiling of Gordon's bust. This event also connected Ballarat citizens with the Gordons and their history, as well as with the poet.2 white pages with uneven quality of print. The newspaper article is headed "Bust of Gordon Unveiled". 1 white page with a short paragraph, second column, announcing the unveiling of the Gordon Bust.At the bottom of p.2 in blue biro is written October 27,1941. P.1.john garner, doctor, john garner collection, ballarat botanical gardens, friends of ballarat botanical gardens, adam lindsay gordon, adam lindsay gordon cottage, adam lindsay gordon bust, literary societies, poetry, australian poetry, the gordons, archbishop of canterbury, gardens, ballarat -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, M B Harvey, Lt-Col B D Clendinnen AM RFD ED
Lt-Col Clendinnen was Commanding Officer of 4/19 prince of Wales's Light Horse Regiment from 1964 to 1967One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col B D Clendinnen AM RFD EDportrait, clendinnen -
Federation University Bookplate Collection
Work on paper - Bookplate, Ex Libris Tereshchenkov Nikita
After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Jigsaw of personality images flanked by an angel and a devil with a bearded psychologist seated upper right.6/25 L-1 "Psychology" I Kozub 2020irena kozub, nikita tereshchenkov, australian bookplate design awards 2021 -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Manager, Ballarat Botanical Gardens, City of Ballarat, Interview with Ian ROSSITER by John Garner, 26 May 2006, 26 May 2006
Ian Rossiter, City of Ballarat, Manager of Strategy Development and Corporate Projects& Ballarat Botanical Gardens, interviewed by Doctor John Garner for the Friends of the Botanical Gardens Oral History Project.The interview is valuable in giving information and insights of the Manager of the Gardens over fourteen years.All visiblejohn garner collection, garner, rossiter, interview, ballarat botanical gardens, ballarat, gardens, doctor, ian rossiter, horticulture, robert clark centre, fernery, prisoner of war memorial, sequoias, master plan, wetlands, curator's house, statues -
Friends of Ballarat Botanical Gardens History Group
Work on paper - A Plan for a Presentation on Botanical Gardens by John Garner, The Botanical Garden: 'A Living Museum'
john garner collection, ballarat botanical gardens, gardens, ballarat