Showing 146 items
matching canvas work
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Glenelg Shire Council Cultural Collection
Painting, Irene Hill, Beach at Dutton Way, 1967
CEMA Art CollectionThe painting depicts the shoreline of a beach with green foliage in the background. Various shades of sand make up the foreground, with a black object in the centre edge of the foreground. To the right of the sand is the blue ocean with the white wash of a broken wave seperating the sand from the water. The background features foliage in various shades of green which meets a blue/purple sky. The work has a painted white wooden frame with material mount and exposed canvas.Front: I.G. HILL 1967 (black painted, lower right corner) Back: White chalk:- ARTIST (underlined) MISS I.G.HILL 42 BOWEN ST. CAMBERWELL(underlined) Price $63 IRENE HILL "BEACH AT DUTTON WAY" (1967) (typed label) Yellow Sticker: 1967 -cema, portland artists society -
Glenelg Shire Council Cultural Collection
Painting, Elma Amor Herbst, Girl, 1963
CEMA Art Collection Winner of Portland Artists' Society Prize for category Oil.The painting portrays a standing female figure. She has straight black hair and wears a blue/green dress. She is depicted as looking at the observer and holds something in her right hand which is held across her body. The background is a mixture of purple, green and blue. The work has a thick wooden frame and exposed canvas.Front: - 63 AMOR (lower right, black paint) Back: ELMA AMOR HERBST "GIRL" (1963) (lower left, typed label)cema, portland artists society -
Glenelg Shire Council Cultural Collection
Functional object - Fid, n.d
... or bone. It is used to work with rope and canvas in marlinespike... or bone. It is used to work with rope and canvas in marlinespike... tool traditionally made of wood or bone. It is used to work ...Used by Peter Carrison (donor's father-in-law) who was a boat builder. Originally used by Henty brothers, for splicing cordage (rope) A fid is a conical tool traditionally made of wood or bone. It is used to work with rope and canvas in marlinespike seamanshipHenty brothersFid made of whale bone. Three decorative grooves (straight) around top. A fid is a conical tool traditionally made of wood or bone. It is used to work with rope and canvas in marlinespike seamanshipmaritime technology, henty brothers -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Deborah Stone, The sky’s the limit for modern Michelangelo, 10 May 1988
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events -
Mission to Seafarers Victoria
Photograph - Photograph serie, Digital copies, Louise Hearman, 1988
Artist Louise Hearman visited the Mission on the 15th of September 2011 and brought photographs in colour of her artwork painted in 1987/88 in the Norla Dome. She shared some background information about how she created the artwork: Louise arranged with O'Brien Glass to have the glass panes donated to replace the steel plates once covering the skylight. She painted the entire ceiling of the Dome precariously balancing on scaffolding. The walls were made as canvas panels and then put in place. She angled some of them to create openings so when you entered the Dome you were totally encased in her work.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Series of 7 colour photographs scannedlouise hearman, exhibitions, cultural events, norla dome, 1988, cottage, flinders street, melbourne, elephant room -
Glenelg Shire Council Cultural Collection
Functional object - Fid, Nil, n.d
... . It is used to work with rope and canvas in marlinespike seamanship... traditionally made of wood or bone. It is used to work with rope ...A fid is a conical tool traditionally made of wood or bone. It is used to work with rope and canvas in marlinespike seamanship. A fid differs from a marlinspike in material and purposes.Fid made of whale bonemaritime, boat building -
Glenelg Shire Council Cultural Collection
Painting, A S Murray, The Great Lake, n.d
CEMA Art Collection Previously located in History HouseThe painting depicts a large body of water surrounded by hills and mountains. The work is predominantly grey with the calm grey water of the lake opposed by by the ominous cloudy grey sky. In the foreground is a grassy hill top with several large rocks. The background features a line of distant grey mountains. The work has a gilded ornate frame with no mount and exposed canvas.Front: A. S. Murray Plaque attached to frame: THE GREAT LAKE (TASMANIA) Back: W. HAMER 189 Sturt Street, Ballarat, VICTORIA BUILDINGS OPPOSITE CITY FIRE BRIGADE -
Glenelg Shire Council Cultural Collection
Painting, Newton Hedstrom, Opera House, n.d
CEMA Art Collection Noted that this work was sent by Caltex in exchange for the winner of the 1973 Caltex Prize, which was part of the Portland Art Society Art Prize. The exchanged work was a print by Greg Moncrieff. Included in the 1999 "Salvage" Exhibition at CEMA Arts Centre.The painting depicts the Sydney Opera House in shades of blue and brown. In the foreground to the left is the brown roof of a building with four red chimneys. In front of these two buildings is an elevated road. Seperating the road from the Opera House is a body of water completed in shades of cream and white. The shadow of the Opera House on the water's surface is completed in shades of blue and green. The work has a brown and gold frame with painted material mount and exposed canvas.Front: N. HEDSTROM (lower left, red paint) Back: (no inscriptions) -
Glenelg Shire Council Cultural Collection
Painting, Jack Freeman, Landscape Dandenong, c. 1961
CEMA Art Collection Winner of Portland Artist's Society Prize 1961The painting depicts a small building set amongst tall trees and grasses. The building is situated in the centre of the work and is cream with a red roof and red awnings. In the foreground is a large area of long grass which leads into the shorter maintained grass that surrounds the building. Behind the building are numerous tall dark green trees. The work has a wide gilded frame and exposed canvas.Front: (No inscriptions) Back: Jack Freeman 1961 Landscape Dandenong (top right, black handwriting) 18 (white sticker) -
Glenelg Shire Council Cultural Collection
Painting, A.S. Murray, Scene on the River Murray, n.d
Art collection Previously located in History HouseThe painting depicts a large body of water surrounded by tree-covered riverbank. Depicted in shades of blue and grey, the water features patches of brown and blue which illustrate the reflections of riverbank trees. In the foreground to the left of the water is a large tree which extends up to cover the top left skyline of the work. Featured in the background is a dense patch of trees completed in shades of blue. To the right of the water is a dense patch of trees completed in shades of brown and black. These trees reach into a purple and blue cloud-filled sky. The work has a gilded ornate frame with cardboard and gold mount and exposed canvas.Front: A.S. Murray Plaque attached to frame: SCENE on the RIVER MURRAY Back: (no inscriptions) -
Kiewa Valley Historical Society
Box Crayons Marking, circa mid to late 1900's
These type of marking crayons have been in use from the 1800s onward to mark commercial and non commercial goods and articles that require waterproof and visual identification labels. Items such as bales of wool, tobacco tags, transportation tags(shipping, rail and road) and other "hard to mark" items that require information to be displayed by semi permanent waterproof signage. The crayons are also an advantage for young student art work.This particular box of leviathan crayons was in use by students in the Mount Beauty Primary School through the Victorian Education Supply Department. As the texture and adhesive/application qualities (soft medium and hard) allows students to be "creative" on various type of canvases. This type of application in schools is of a non commercial and simplistic art -form nature however more advanced students could present a commercial interest in a viable creative artistic venture. The major commercial and non educational uses are encompassed in a rural grazing and farming regions, of the Kiewa Valley and adjoining lands.The crayon box is made from cardboard and light buff colour. The box contains six "No.1" crayons, two of which have been used. Each crayon is wrapped with manufacturer's details on 180 gsm thick paper. The wrapper runs nearly 4/5 th of the entire length, leaving 1/5th open to display the colour of the crayon. The colours of the crayons are blue, purple, green, yellow, red and black. These crayons provide a waterproof writing, sketching and numbering method and are available in soft, medium and hard texture.Within a chain border and on two opposite sides of the box: "1 Dozen No.1", and below this and underlined "Leviathan Marking Crayons" and below this "Indispensable for all Marking and Checking purposes Waterproof and will not rub off", below this "SUPPLIED UNDER GUARANTEE"waterproof, freehand marking and artworks, school waterproof art, commercial identification marking of rural produce, school art, waterproof labelling -
Kiewa Valley Historical Society
Bag Canvas Water, Circa 1950
This extract from an advertisement in the Sydney Morning Herald newspaper of 1/12/1959 places the era in which this water bag was prolific throughout rural Australia. " ABERDEEN CANVAS GOODS for the man on the land here is Australia's most useful, convenient and hygienic water bag. Its special unbreakable plastic nozzle is fitted with a perforated filter strainer. Made from long flax canvas, its universal handle enables it to be hung on bumper bar, wire fence or on hook or nail" The availability of clean cool drinking water in remote rural locations was essential for survival under the blistering Australian summer sun. This was in a pioneer era when transport, roads and convenience stores were ,in a lot of "outback" Australia, in short supply and survival was dependent upon what could be carried by vehicle or pack horse.When the Kiewa Hydro Electricity Scheme became a reality, the use of the water bag was one of the essential personal items of survival given to each person working in the forests and on and in the high plains environment. Even in an outside stationary work place the availability of cool clean water was a prerequisite. The canvas water bag allowed any wind or airflow to cool down the water, even on very hot days, to provide a refreshing and throat quenching supply of water. These bags could be fastened onto the front of vehicles or hanging from shady tree branches thereby permitting air flow around the bag. During the "wearing in" period the residual taste from the canvas was fairly strong, this became considerably less as time and a half moved on. This "Aberdeen" long flax canvas water bag is held together on two sides and the top by strong heavy cotton stitching. The iron fashioned carrying handle has, protruding from its top elevation ,a very strong hook (well in excess of the bags' weight requirement). At the top, of the bag, and on one side only, is a brown coloured bakelite spout (with an inbuilt filter) protruding upwards. This spout has its matching , screw on, lid complete with attachment chain (not fixed at the handle end)On the front of the bad and stenciled in bold lettering, "ABERDEEN" and directly below "Travellers" and below this "FILTER BAG". Below this are two parallel black lines enclosing an ochre coloured band(12mm wide) running around the bottom section of the bag. Below this band is stenciled the number 14 in black (25mm high) figures. The spout lid has stamped on the top surface and within the outline of Australia, "ABERDEEN FILTER WATER BAG". Above this and close to the edge of the lid is pressed "PAT. No 9149/32 and down at the bottom rim is stamped "RD. No. 9870". canvas, water bag, water container, camping equipment, survival pack -
Burrinja Cultural Centre
Aboriginal painting - Rover Thomas Joomala, Mount House, c 1994
Mostly black surface with an area of white on the right side and a brown band near the top, lined with white dots. Work show the 'black soil country'. Ochres on Canvas. -
Emerald Museum & Nobelius Heritage Park
Wages Book, Weekly Wages Book
Wages book showing record of wages paid by Gembrook Nurseries (20/1/1939 - 31/8/1945). Found in shed (Packing shed) on former nursery site by Clem Worrel. Provides a record of names of residents who worked at the nursery, rates of pay and tasks performed.Of high significence in the Emerald area as the Nobelius Nurseries was the largest employer in the district and the largest Nursery in the Southern Hemisphere at the time.Green foolscap size hard cover with canvas binding.List of employees commencing 9th June 1939 to 31st August 1945nobelius nursery emerald wages book -
Emerald Museum & Nobelius Heritage Park
Wages Book, Twentieth Century
Wages book showing record of wages paid by Gembrook Nurseries (1/7/1955 - 21/7/1960). Found in shed (Packing shed) on former nursery site by Clem Worrel. Provides a record of names of residents who worked at the nursery, rates of pay and tasks performed. Of high significence in the Emerald area as the Nobelius Nurseries was the largest employer in the district and the largest Nursery in the Southern Hemisphere at the time. Green foolscap size hard cover with canvas binding. nobelius nursery emerald wages book -
Orbost & District Historical Society
cloth, Untitled et al, first half 20th century
Mrs Eaton was daughter of George and Granny Thomas. Respected Aboriginal couple at Newmerella.This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century when women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes.A canvas runner, unbleached, with two symmetrical designs in thick white thread on front. Fancy borders sewn on edge.cloth handcraft needlework eaton-julia manchester table-linen -
Orbost & District Historical Society
sampler, early 20th century
Decorative samplers and needlework were usually made by young women. The completed work was usually framed and hung. Many of them were messages which reflected the values of the family.Hand sewn ornamental sampler on a cardboard canvas and bound in ribbon with small bows at each corner."Lost, somewhere between sunrise & sunset, two golden hours each set with sixty diamond minutes. No reward is offered for they are gone forever.' Ribbon and cotton are crimson. needlework handcraft -
Orbost & District Historical Society
black and white photographs, April 1916
These photographs were taken at the official opening of the Orbost - Bairnsdale Railway Line. In 3150.3 which is of a group of children and two adults those identified in the photograph are ; L - R front row Mary Gilbert; Warren; Betty Gilbert; Marion Gilbert; Mrs Shaw and son; ? Gay; and Pen Gilbert. In 3150.4 L-R front " Mary Gilbert; Bet Gilbert (sitting with glasses); Pen Gilbert(Richardson); Marion Gilbert ( middle front little girl) About 1912 work began at Newmerella on clearing the track for the railway line from Bairnsdale to Orbost. A canvas town sprang up on the higher land adjacent to the river flats. Local farmers supplied meat, milk and fresh produce to the camp, as well as gaining employment carting and labouring. The line opened in 1916, the Orbost railway station being built on the Newmerella side of the river.This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. It is a pictorial record of a significant event in Orbost's history. On April 10 1916, the first scheduled train service left Orbost for Bairnsdale. The Bairnsdale-Orbost railway was opened to serve the agricultural and timber ndustry. Because of the decline in traffic and heavy operating costs, the line was finally closed in August, 1987. Four black / white postcards of people at the opening of The Orbost - Bairnsdale Railway. 3150.1 - on front - "The Ministerial Party" 3150.2 - on front - hand-written - " The Hon James Cameron" with arrow pointing to a man standing in the back row. at bottom - "The Ministerial Party X Florie Cameron" on back- "Opening the Orbost Railway" 3150.3 and 3150.4 - on back - hand-written "First train to Orbost with a list of names.orbost-bairnsdale-railway celebration-opening-of-railway east-gippsland-railway -
Orbost & District Historical Society
Book, The Iron Horse Stopped at Orbost Railway Station, 2019
Carrol Preston has used newspaper references from 1877 through to 1917, to document the history of the Orbost - Bairnsdael railway line.. It starts with the lobbying and jockeying, and moves through to the opening in 1916. The title is a reference to plans to further extend the railway beyond Orbost - but "The Iron Horse stopped at Orbost Railway Station". Most articles are from the Snowy River Mail and Bairnsdale Advertiser. All newspaper articles are dated and sourced. About 1912 work began at Newmerella on clearing the track for the railway line from Bairnsdale to Orbost. A canvas town sprang up on the higher land adjacent to the river flats. Local farmers supplied meat, milk and fresh produce to the camp, as well as gaining employment carting and labouring. The line opened in 1916, the Orbost railway station being built on the Newmerella side of the river.This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. On April 10 1916, the first scheduled train service left Orbost for Bairnsdale. The Bairnsdale-Orbost railway was opened to serve the agricultural and timber industries. This book has been compiled by a local historian. A spiral bound book titled, "The Iron Horse Stopped at Orbost Railway Station". The cover is blue / green with the title in black and red print. Underneath is a railway track leading to the bottom of the page. The book is 110 pages, A4 size and contains maps and photos. in black print on cover - "The Iron Horse Stopped at Orbost Railway Station ; The newspaper story of the eventual construction of the ORBOST RAILWAY LINE (in red print); Compiled and produced by CARROL PRESTON (in white print)railway-transport orbost-bairnsdale-railway east-gippsland-railway -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th to early 20th century
... of wood or bone used to work with rope and canvas in marlinespike... a tool traditionally made of wood or bone used to work with rope ...A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid with Horn body and wood top.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Mid 20th Century
... of wood or bone used to work with rope and canvas in marlinespike... a tool traditionally made of wood or bone used to work with rope ...A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Metal Fid with a wooden bulb on top metal body tapering to a point. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Early 20th century
... of wood or bone used to work with rope and canvas in marlinespike... a tool traditionally made of wood or bone used to work with rope ...A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid, Metal and Wood top with brass ferrule between the two.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th- early 20th Century
... of wood or bone used to work with rope and canvas in marlinespike... a tool traditionally made of wood or bone used to work with rope ...A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern fid's are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Wooden Fid with 3 rings around base of knob at the top of fid. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Federation University Historical Collection
Tool - Leatherwork Toolkit, Leatherwork Toolkit in Timber Box, c1920
Thought to have been used in shoemaking classes held for repatriated soldiers at Ballarat School of Mines. At the Ballarat Technical Art School, during the early twentieth century, leather art was popular but had little industrial value and was usually a minor study. The Victorian Education Department set examinations in art leather work. Copies of many Technical School Examination Papers are kept within the University's historical collection.Black wooden box with metal latch and handle. Contains assortment of tools, some with timber handles, some metal. Two halves inside box. Lid is attatched by canvas nailed to bottom. leather, tools, box, world war one, ballarat school of mines, shoemaking, bootmaking, bootmaker, leatherwork, repatriation -
Federation University Historical Collection
Photograph - print, B. Ireland, The Eureka Stockade, c1890 -1900
This image was taken for the purposes of illustrating Jack Harvey's book 'Eureka rediscovered'. According to the State Library of Victoria catalogue the work is an over-painted photographic print, photographed by an unknown photographer from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, ca. 1891. This is based on the evidence that the pulleys and brick wall are discernible at the top edge of the image which B. Ireland has not over-painted. This artist may by Beryl Ireland, who was a miniaturist and studied at the National Gallery of Victoria Art School in the 1870s. Beryl Ireland was the niece of Richard Davies Ireland (1816-1877), the lawyer for the Eureka defendants in 1855. Information provided by Dr. Mimi Colligan, 2002. (http://search.slv.vic.gov.au/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=SLV_VOYAGER1657187&indx=2&recIds=SLV_VOYAGER1657187&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&dscnt=3&frbg=&tab=default_tab&dstmp=1339483021572&srt=rank&mode=Basic&dum=true&fromLogin=true&vl(freeText0)=Eureka%20Stockade%20Ireland&vid=MAIN)Large format reproduction of a handcoloured photograph of the Eureka Stockade taken from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, c1891. The original is in the collection of the State Library of Victoria. (http://handle.slv.vic.gov.au/10381/132726) Signed lower right "B. Ireland"eureka stockade, ireland, b. ireland, beryl ireland -
Flagstaff Hill Maritime Museum and Village
Education kit - Display Board of Knots, Tom Long, DSM (Member of International Guild of Knot Tyers), Before Sept 1986
The Display Board of Konts was handmade in Kings Lynn, Devon, England, by Tom Long DSM, who is a member of the International Guild of Knot Tyers. This display board shows the knots and joins used in ropework performed by a sailmaker and other skilled ropeworkers. It demonstrates the uses of some of the knots, such as for knobs and handles, suspending lengths of wood, reinforcing spliced rope and even for decorative work. The sailmakers travelling as part of the ship’s crew stored their tool kit in a canvas ditty bag. It contained needles, awls, a sailmaker’s leather palmed glove with a heavily reinforced palm - a shuttle to mend and make nets, fids, knives, mallets, brushes, rulers, and rope gauges. Sailmakers used their ropework and knot-making skills for various purposes and chose the type of rope fibre for its particular properties. For example, Italian hemp rope was preferred for the light line used in shore-to-ship rescues because it was lightweight, not easily knotted, and absorbed less water. A supply of various types of rope was a commodity on board a ship and on land in the new colonies. It was flexible, easily stored, and could be worked to create an endless variety of objects on its own or with other materials like wood. An example is a simple rope ladder. Lengths could be combined to make various thicknesses and pieces could be skilfully joined together by splicing. The importance of knots in seafaring cannot be overestimated. When ships relied on only the wind for power and speed, there were a huge number of various ropes in use, particularly with regard to the sails and rigging. Seafarers would be judged on their ability to tie knots speedily and correctly. A mounted display of authentic seaman's knots is on a board covered in blue fabric. Various rope grades and fibres were used to work numerous knots and splices. Some of the uses are familiar, such as the toggle, the pineapple knot, and the Turk’s head. A selection of rope grades and fibres were used to work numerous knots and splices. Some of the uses are familiar, such as the toggle, the pineapple knot, and the Turk’s head. The name or purpose of the knot is on the label below it. Labels below each knot give its name or use.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, knot display, knot making, ropework, marine technology, sailmaker's work, sailor's knots, ship's rigging, seamen's knots, handmade, rope craft, knots, splices -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, 1940s
... of wood or bone used to work with rope and canvas in marlinespike... a tool traditionally made of wood or bone used to work with rope ...A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the grip fid, is used for ply-split braiding. The grip fid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Metal Fid painted brown, flattened point turned end and hole for a lanyardNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, marlinspike -
Flagstaff Hill Maritime Museum and Village
Print - Landscape, Jean Baptiste Camille Corot, Souvenir of a Journey to Coubron, 1908-mid-20th century
Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art -
Federation University Historical Collection
Magazine - Booklet, Baxter & Stubbs, Print, Ballarat School of Mines Students' Magazine, 1923
Editorial, In Memoriam: Robert James Dowling, Fumes from the Lab, A trip to America, Arts & Crafts Gossip, Echoes of the Past, Sport, The Junior Techs. Under Arts & Crafts Gossip the writer gives on overview on 'modern books on fine art'. "... In making this decision as to whether his tone values are correct or not the artist always studies his canvas from a distance of several yards. An excellent system of painting is being practised and taught by Max Meldrum. This consists of painting in the orders of the impressions. This method is fully explained in his book, and will be found invaluable by the student desiring to work on sound lines. ...Brown soft covered magazine..1) Stamped "Ballarat Technical Art School" .2) Written on front cover "Hessie Darby"ballarat school of mines, magazine, hessie darby, ballarat technical art school, e. kift, ethel kift, r. t. crosthwaite, c. mcilvena, h. finlayson, e. mckissock, f. russell, c. s. hunt, j. r. pound, a. leask, m. timmings, professor alfred mica smith, robert james dowling, e. j. mcconnon, r. g. cox, edwin a. brophy, raymond fricke, nancy humphries, r. sage, max meldrum -
Federation University Historical Collection
Work on paper - Image, Rothkappchen (Little Red Riding Hood)
This image depicts a scene from the fairytale 'Little Red Riding Hood'Framed antique print of Rothkappchen (Little Red Riding Hood). The print is backed by canvas.Beneath print : Praimie Zum Omnibus Rothkappchenrothkappchen, little red riding hood, fairytale