Showing 255 items
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Swan Hill Regional Art Gallery
Craft, NICHOLLS, Marilyne, Fish Basket, 2018
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National Wool Museum
Functional object - Spinning Wheel, Philip Elford, 1976-7
Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood) -
Magnet Galleries Melbourne Inc
afc mechanics group, dargo-075.tif
A group of air craft mechanics including Private Jim Stewart (far right) of the 3rd squadron. Australian Flying Corps. A popular, carefree character, Stewart played as a ruckman for south Melbourne in the Victorian Football League between 1915 - 1920, though war service precluded for much of 1917 - 1919Black and white photographic printww1, world war 1, afc, jim stewart, mechanics -
Glen Eira City Council History and Heritage Collection
Book, 2015 ANZAC Centenary Poppies Community Project Book, 2015
The 2015 ANZAC Centenary Poppies community project was run by Glen Eira City Council, community artists and the Glen Eira community. Glen Eira Council encouraged community involvement by inviting the community to handmake poppies (knitted, crocheted, felted or crafted, no more than 15cm in diameter) to be included in a display in the Town Hall’s gallery from April the 8th. The Poppies Community Project Display will be held from 8th April - 17th May 2015 in the Gallery Annexe at Glen Eira Town Hall, with the hundreds of poppies arranged and linked by artist Emma Davies. The display was accompanied by a display of war memorabilia and artefacts, and visitors were invited to record their own dedication in a commemorative book.This large, black book is embossed with the square logo for the City of Glen Eira on the front. It contains tributes and dedications made by members of the community as part of the 2015 ANZAC Centenary Poppies community project under the headings "Date / Name / Dedication". The object also includes an unattached handwritten letter, and a handwritten label attached to one dedication. The dedication entries are dated from 10/04/2015 to 17/05/2015. -
Federation University Art Collection
Artwork - Bookplates, Suit of wood engraved bookplates by David Frazer
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He compled an Honours Degree in Fine Art (Printmaking( at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. David Frazer’s work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. david frazer, bookplate, wood engraving, printmaking -
Federation University Art Collection
Ceramic - Artwork - Ceramic, Greg Daly, 'Lustred Form' by Greg Daly, 1984
Greg DALY (1954- ) Born Melbourne, Victoria Greg Daly is internationally known and respected as a ceramic artist specialising in rich glaze effects, and also as the author of Glazes and Glazing Techniques (1995 Simon & Schuster). His work is represented in over 24 international book publications, in over 80 national and international art galleries and museums (including the National Gallery of Australia and the Victoria & Albert Museum, London), and he has won over 36 national and international awards. He has held over 70 solo exhibitions and was President of Craft Australia from 1992-1995. He has exhibited in over 200 international and national group exhibitions. In 1999 he received an ARC grant to research the effect of firing cycles in the development of copper red glazes. Source http://www.gregdaly.com.au/bio/ 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.Stoneware form decorated with lustre glaze. This ceramic form is a sculptural representation of rock forms Daly created during the 1970s and 1980s. His magnificent lustre glaze is a signature of Daly's master work with glaze production. Greg Daly is regarded as Australia's most pre-eminent ceramicist and teacher. His ceramic production is technically outstanding, his original forms float in an ethereal space far superior in conceptual design than those ceramic works which remain rooted to the table tops. This piece is a magnificent example of the work of this ceramic genius. Description by Dr Susan Patersonart, artwork, ceramics, greg daly, lustre, glaze -
Flagstaff Hill Maritime Museum and Village
Tool - Bevel gauge, Mid-to-late 20th century
The double bevel gauge is used as a drawing tool, to measure, set angles and transfer angles. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.This double bevel gauge has three lengths of flat brass that swivel at the joints. The long piece has curved ends and indented arcs, one on each side, along the length. The short pieces have diagonal ends. The centre length has a hole through the middle. The short pieces have a screw with its head above the flat brass. The tool has an inscription. It once belonged to shipwright Laurie Dinks.Bevel marked "L DILKS" "G. M."flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, bevel, drawing tool, measuring tool, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Broad axe, mid-to-late 20th century
A broad axe is used for the initial cutting and shaping of a log to prepare it for the piece to be made. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Broad axe; a wooden handle with a round metal wedge-shaped head, reinforced with a metal plate on at the back of the handle. There is a hole in the handle about halfway along its length. It once belonged to shipwright Laurie Dinks.flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck coast, great ocean road, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, caulking, ship maintenance, cooper, shipwright’s tools, shipwrights’ tools, tools, maritime trade, broad axe, caulking iron, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Sheathing hammer, Mid-to-late 20th century
A sheathing hammer is used for attaching the copper or Muntz sheathing to the outside of a vessel. The outside cover of the hull of a ship or boat is called sheathing. In previous centuries the sheathing was timber but on long voyages, the sea worms could eat through the timber and their holes would weaken the sheathing, sometimes causing the vessel to break up in the rough sea or if the ship was beached. Copper or Muntz sheathing was later used. It was effective but very expensive. In modern times the hulls of ships are iron. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.The sheathing hammer has a wooden handle and metal head. One side of the head has a long claw for removing nails with minimum damage to the surrounding surface. The other side has a wide, flat round head for hammering in the large nails used in shipbuilding. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, sheathing hammer, hammer, shipwright's hammer, ship's sheathing, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Pin hammer, Mid-to-late 20th century
One end of the peg hammer’s head had a wedge-shaped tapered end, which was referred to as the peg poll and was used for hammering in pegs or bolts. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Pin hammer; Wooden handle and steel head, thick heavy rounded end on one side, tapered wedge shape end on the other side. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, hammer, shipwright's hammer, pin hammer, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Spar gauge, Mid-to-late 20th century
Boat builders and shipwrights use a spar gauge to transfer measurements and shapes onto their workpiece, particularly if they are working on a curved surface, like an oar or the hull of a boat. This spar gauge is an expanding gauge. It measures multiple equal distances at the same time, allowing for decreased work time on the job at hand. The tool is similar to a ‘toy’ designed in Australia in the 1960s called a Sketch-A-Graph, derived from the mathematics and mechanics of a ‘pantograph’. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Spar gauge; a drawing tool with four flat brass bars, pointed at one end, are joined in such a way that they can expand and contract. The rounded ends of the two long bars are joined. The centres of the two shorter bars are crossed and joined. Each rounded end of a shorter bar is joined to one of the long bars towards the top of the bar. All of the joints swivel, allowing the gauge to expand and contract. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, gauge, shipwright's gauge, spar gauge, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Caulking iron, Mid-to-late 20th century
Caulking is the use of cork or other substances to seal the seams and joints of the vessel to make them watertight. Caulking lasts for quite some time but eventually dries out and needs to be replaced. A hammer is often used with a caulking iron to drive it along the seams. The caulking iron’s blade is tapered to be narrower at the tip to make it easier to remove it from the joint. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Caulking iron, or broad chisel, wooden handle with reinforcing on the ends, metal shaft that tapers down from the handle to the end of the blade. It has an inscription. It once belonged to shipwright Laurie Dinks.Stamped into metal " - - WARD /(image of crossed swords) WEFT / WARRANTED"flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, caulking iron, jerry iron, broad chisel, caulking, sealing, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Shackle punch, Mid-to-late 20th century
Chains are available in a variety of link shapes and sizes. They have many uses on sailing vessels, such as part of anchoring systems or loading cargo onboard the ships. A link called a shackle is used as a quick and flexible way to join two pieces of chain. Sometimes the shackle needs a tool to remove it. A shackle punch like this one will do the job. A modern term for a similar tool, that also has a handle, is a ‘breakdown’ tool. It is designed for aligning and driving pins in and for removing bolts, rivets and pins. This shackle punch has a handle with six flat sides that prevent it from rolling around when stored. It has a fine shank that tapers down to the end. The tool is placed on the join of the shackle, and then the end of that handle is hit with a hammer until the join breaks apart. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.A shackle punch; a metal tool with six flat sides on the handle and the shank tapers inwards to a rouded point. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, shackle punch, breakdown tool, chains, links, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Centre pop, Mid-to-late 20th century
This all-metal centre pop punch tool has a rounded point, thick body and flat round head. The centre of the body is concave to allow a strong grip. This also creates a flat side and would prevent the tool from rolling off the workbench. The ‘centre pop’ in a shipwright’s toolbox may have been used as a punch to remove the ‘eyes’ from a ‘dead eye’ pulley or other jobs that needed a hole removed from the work. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Centre pop tool; all metal punch with a flat head, wide handle section and a shaft that tapers inwards towards the end. It is shaped for a good grip. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, shackle punch, breakdown tool, chains, links, centre pop, punch, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Caulking mallet, mid-to-late 20th century
Caulking is the use of cork or other substances to seal the seams and joints of the vessel to make them watertight. Caulking lasts for quite some time but eventually dries out and needs to be replaced. A mallet or hammer is often used with a caulking iron to drive it along the seams. The caulking iron’s blade is tapered to be narrower at the tip to make it easier to remove it from the joint. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Caulking mallet; a thick wooden handle with a round ‘T’ cross-bar near the end. Metal reinforcing is added around the ends of the head. Both sides of the wooden head are flared outwards towards the end. The head is reinforced where it intersects with the handle and around the ends of the head just above the tips. It once belonged to shipwright Laurie Dinks.flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck coast, great ocean road, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, caulking, ship maintenance, cooper, shipwright’s tools, shipwrights’ tools, tools, maritime trade, caulking mallet, caulking iron, laurie dilks, l dilks, port and harbours melbourne -
Flagstaff Hill Maritime Museum and Village
Tool - Caulking iron, mid-to-late 20th century
Caulking is the use of cork or other substances to seal the seams and joints of the vessel to make them watertight. Caulking lasts for quite some time but eventually dries out and needs to be replaced. A mallet or hammer is often used with a caulking iron to drive it along the seams. The caulking iron’s blade is tapered to be narrower at the tip to make it easier to remove it from the joint. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Caulking iron; an iron tool with round flat surface on top, above a narrow, long round handle that flares outwards to form a thick, narrow wedge shape. It once belonged to shipwright Laurie Dinks.flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck coast, great ocean road, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, caulking, ship maintenance, cooper, shipwright’s tools, shipwrights’ tools, tools, maritime trade, caulking iron, laurie dilks, l dilks, port and harbours melbourne -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: Banyule, Darebin, Manningham, Nillumbik, Whittlesa & Yarra; Vol. 7, No. 5, Nov 2002-Feb 2003, 2002
Vol. 7, No. 5, Nov 2002-Feb 2003 CONTENTS Comment 2 Raising Young Voices - Robert Williams 3 Gardening: The New Rock and Roll - Kate Hird 7 blOKes at the Collingwood Gallery 10 200? Banyule Youth Art Awards 11 A Trip in Time and Space - Seren Little 13 Melbourne Art Fair 2002 - Felicity Gordon 15 Eltham High School Photography 16 Susan Pickering: A Shift in Passions - Corinna Tautsche 18 Poetry News and Reviews - John Jenkins 19 Book Review: Amerika Psycho - Pam Dougherty 20 Book Review: Mirka Mora - Louise Poland 21 Noel Counihan: Geoff Todd: Op Art in Australia 22 Australian Music: Elizabeth Scarlett 23 CD Reviews: John Sangster, Judy Jacques, Bob Sedergreen 24 Artin' About 27 Wining & Dining 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, eltham east primary school choir, willy wonka's ice cream gourmet food, anne williams, eltham fullife pharmacy, dynamic vegies, gardening, kate hird, thompsons pharmacy, chris dickson, banyule youth art awards, st andrews hotel, eltham wiregrass gallery, melbourne art fair, eltham high school, susan pickering, corrina tauschke, john jenkins, poetry, montsalvat, hurstbridge arts & craft, atmosphere nursery & cafe, bulleen art & garden centre, sushi wushi -
Coal Creek Community Park & Museum
Picture Frame
It is made from polished fiddleback, Blackwood and sassafras, and studded with ornamental metalwork.This item is aesthetically significant, as it is an example of Arts and Crafts movement, 1880's Hand made Picture Frame, made by Local Korumburra, Carpenter and Builder Mr. Dan Jarvis. As a Builder, this item was made as a hobby item which showed his Excellent skills with minute craftsmanship. It was selected, and featured as item 233, in Murray Walkers catalog, Colonial Crafts of Victoria, published in 1978, for the Exhibition at the National Gallery of Victoria, November 1978 to January 1979. -
Ararat Gallery TAMA
Functional object, Shiro Uiro, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Sekku no Iwaimono, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Container for pastries, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Gion Chigo Mochi, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979. Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981An elegant wooden box, fashioned in the style of boxes used for gifts to the emperor some eight or nine centuries ago, is filled with a Kyoto confection called Gion Chigo Mochi. The Gion is one of Kyoto's entertainment districts, chigo are children dressed in ceremonial Buddhist costume for one of the city's numerous festivals, and mochi are cakes of steamed and pounded rice. The name of the confection derives from the style of the bamboo-sheath wrapping, which suggests the figure of a chigo. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Gift bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving