This card is the ninth in a set of 16 information cards produced by the Stamina Clothing Company re: Australian Woollen Mills as give aways. It looks the process of the drawing out of the top.Card no. 9 from the Crusader Mills information card set, c.1945-55. Verso of card no. 9 from the Crusader Mills information card set, c.1945-55.No. 9 Drawing out the Top prior to spinning at the Crusader Mills.australian woollen mills pty ltd stamina clothing company, drawing

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

A series of maintenance drawings were made or copied by an architectural firm. These plans include: 1 - St Kilda Road Property - a site map of the buildings and grounds with the names of the various areas added. 2 - St Kilda Road Central Building (copied from a RAAF drawing) showing rooms on the ground floor. 3 - St Kilda Road Central Building (copied from a RAAF drawing) showing rooms on the first floor. 4 - St Kilda Road Central Building roof plan. 5 - St Kilda Road Factories showing the layout on the ground floor. 6 - St Kilda Road Factories showing the layout on the first floor. 7 - St Kilda Road building showing all three floors of the building rented out to Alfred Hospital. 8 - St Kilda Road caretaker, factory, fundraising and rehabilitation training buildings. 9 - Raleigh Street, Prahran hostel layout for both girls and boys.9 pages of plans of buildings on St Kilda road siteVarious - see individual plansmyer house, royal victorian institute for the blind, plans, raleigh street hostel, alfred hospital

Pencil drawing from a sketch book by Walter Withers. Held by the National Gallery of Victoria. Featured on p82 of "Pioneers and Painters". The figure study is reproduced in Wither's 'The Drover' (1912) held by Bendigo Art Gallery. The model was Mr W. J. Capewell, the Eltham Butcher.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Print (x2)horse, pioneers and painters, sepp, shire of eltham pioneers photograph collection, sketches, the drover 1912, w.j. capewell, walter withers, walter withers sketch

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed abstract pastel artwork by Wes Walters.wes walters, abstract, pastel, alumni, alumni

Drawing done on location by Francis John " Curly" Papworth in Timor on the second day of his deployment with 2/2 Independent Company.This work of soldiers is significant as a work produced by a serving soldier on location during WWII and is a unique example of an artistic work showing the men and their surroundings at the time. Pencil drawing on white paper in landscape Diary entry of the second day on Timor with drawing of cooking with local huts in backgroundww2, world war 2, independent company, 2/2 commando squadron, francis john papworth, timor, 2/2 independent company.

Photocopy of a drawing prepared by Dave Macartney in the mid 1980's of the track layout of the Electric Supply Co. of Victoria's Ballarat Tramway system, excluding the single track to Sebastopol. Plan shows the location of the loops, loop type, street names, position of replacement loops installed by the SEC during the reconstruction, depot layout, powerhouse siding and railway in Lydiard St. North. Prepared from inspecting the Plans of Ballarat services drawings in the Ballarat Water Board's Offices. Drawn on the back of old import forms of a light weight paper and has shown through the printing underneath. Titled "Ballarat Tramways Company Days 1905 - 1930" Number of small differences to the map drawn for Keith Kings, "The Ballarat Tramways" book, page 22.trams, tramways, ballarat, esco, track layout, map

RealismDrawing (study) of an emuNo signed. Not dated.

Local historical buildingLocal scene and artistPen and Wash drawing

These drawings have been produced by Ron Uebergang at the Warrnambool Technical School in 1919. Uebergang family members were pioneer settlers in the Warrnambool area in the early 1850s. Ronald John Uebergang (1903-1971) was born in Warrnambool to Ernest Uebergang and Mary Watson. Ron Uebergang lived at the family property, Hopkins Hill at Allansford and went to Allansford State School and Warrnambool Technical School. He was mechanically minded, a good photographer and fond of music and dancing. He married Myra Hall and was a dairy farmer at Hopkins Hill and later grazed beef cattle. Warrnambool Technical School was established in 1913, firstly at a Timor Street site and later at Caramut Road (today it is known as Brauer College). These drawing are of considerable interest as works produced by Ron Uebergang. Uebergang family members have been prominent in the Warrnambool-Allansford area since the pioneering days of the district. The drawings also are good examples of the type of work produced by Warrnambool Technical School students in its early years.These are two designs and drawings by Ron Uebergang produced at the Warrnambool Technical School in 1919. They are drawn on white card using black and red ink. The scale of the Flywheel is three inches to one foot and the Bevel Wheels are one-third full size. The drawings are edged with heavy black lines. The two sheets have the signature of Ron Uebergang. There are also four pages of handwritten notes on the Flywheel and Bevel Wheels.‘Designed by R. Uebergang’ ‘Drawn by R.Uebergang’ ‘Date 4/1/19’ (on Flywheel sheet) ‘Date 27/5/19’ (on Bevel Wheels sheet) warrnambool technical school, ronald uebergang, history of allansford

Pen and Ink Drawing on PaperSigned and dated recto l.l. ink "Victor Cobb. 1922" Titled l.r. ink "Harvesting Gippsland"landscape. gippsland.

Drawing of a figure in a boat in a landscape.

Graphite frottage drawing on paper.Not signed. Not dated.

Graphite frottage drawing on paperNot signed. Not dated.frottage, text, words, urban

Colour pencil drawing on paperNot signed. Not dated.grid, places, travel, buildings, snapshots

Colour pencil drawing on paperNot signed. Not dated.landscape, buildings, view, factory

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture drawing of distinctive Beaufort house"signed: Michael Gersch '83 (lower left) verso (affixed): MICHAEL GERSCH 33 FRANCIS STREET NORTHMEAD, N.S.W. House, Beaufort, Victroia Price $250"

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed drawing of a skeleton. If you can assist with information on this artist or artwork please use the email link below. art, artwork, horsham campus art collection, skeleton, available horsham, naomi grejehn

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Drawings of cutting and flower head of plant with brown stem, green foliage and long white flowers. Seven drawings include two branches with foliage and flowers, two flower details and three details of buds or seed pods. The work is on white paper, mounted in a double matt (grey on maroon), unframed.Front: CEW/82 (signature, lower left in image, next to stem) (maroon pencil) Nodding Beard-heath - Leucopogon woodsii (lower centre) (pencil) Back: 25 (upper left) (pen) Nodding Beard-Heath $80 (Leucopogon woodsii) CE Woolcockcema, botanical, collin woolcock

Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Self portrait of artist.art, artwork, loris button, self portrait, alumni, available

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Framed drawing of cutting, flower and leaf details of plant with brown stem, pointy green leaves and white bud flowers. Six drawings include one cutting, two flower details and three leaf details. The work is mounted in a double matt (off-white on sage green) under glass in a gold and green-grey frame.Front: CEW/82 (signature, lower left in image, next to stem) (brown pencil) Melichrus urceolatus Urn Heath (lower right) (pencil) Back: 6 (upper left) (pen)cema, botanical, collin woolcock