(underside of falboard) c; ERARDdecorative arts, piano, furniture, musical instrument, keys, music, upright piano, ivory, marble, french, napoleon, erard & co, fortuna villa

(under seat on inner framework) u.c; 2,u.c; 2decorative arts, chair, woodwork, textile, sitting, interior, domestic, nursing, motherhood, babies

Jenny Pitts (student - Form 4, 1972) chose body painting for her 1970's art project..Copy of black and white photograph mounted on board.williamstown high school, arts program, body painting, jenny pitts, 1970's, 1972

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Jack Foley, 2/43 Battalion; VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie

Medal commemorating the Centenary of Government of Victoria and the Discovery of Gold, commissioned by the Victorian Government and gifted to the Shire of Glenlyon. Designed by Andor Mészáros and minted by K.G. Luke, Melbourne, 1951. 1951 marked the centenary of Victoria's separation from the colony of New South Wales. As part of the celebrations, the Victorian Government commissioned this medal from Andor Meszaros. Drawing on his classical background, Mészáros developed the imagery for 'Equality and Justice through Freedom'. The man holding the torch represents equality; the blindfolded woman holding a sword is the symbol of justice, and both are mounted on a horse that has broken its shackles. Features on the reverse a design of a banksia and bottlebrush. There was another version of this medal which depicted a pair of gold prospectors on the reverse.This medal was presented to the Shire of Glenlyon in 1951. For over half a century, sculptors Andor (1900-1973) and Michael (1945- ) Meszaros have created medals that reflect the high points of life in Australia. From major awards and portraits of eminent Australians to artwork celebrating popular culture and the natural world, these objects illuminate our culture and history. Grounded in a centuries-old European art tradition, the medals create connections across disciplines and link such diverse subjects as scientific advances, religious themes, sport, the performing arts and motherhood. Through their public and private commissions and their personal artworks, the Meszaros sculptors have defined the modern Australian medal.Bronze medal with images and text insetObverse Description: Horse bounding left, broken shackles on foreleg, carrying woman holding sword and man holding torch; around, EQUALITY AND JUSTICE THROUGH FREEDOM Artist's name behind horse's tail: A MESZAROS Reverse Description: Stake supporting plant; above, CENTENARY OF GOVERNMENT OF VICTORIA 1851 - 1951; inscribed, Presented to / the Shire of / Glenlyon / 1951 Artist's initials to left of stakeglenlyon, hepburn shire, centenary of government, centenary of gold discovery, history of victoria, victorian governement, meszaros, kg luke, commemorative, commemorative plaque, centenary 1951

Discusses twentieth century architecture and the evolution of modern architecture. Describes present architecture in three categories, namely vernacular, professional and creative. Examples of house designs within the new architecture are given.This manuscript was published as a book titled "The New Architecture" (The Arts in Australia Series), Longmans, Melbourne, 1963.Typewritten (c copy), pencil edits, quarto, 18 pagesmodern architecture, australia, young architects, creative architecture, new architecture, robin boyd, manuscript

Boyd argues that modern architecture has triggered a necessity for greater harmony between architects and engineers. Boyd describes the architectural qualities of tension structures through an analysis of several case studies including projects by Frei Otto and Boyd's own house at Walsh St. Being a relatively new concept, Boyd criticises the neglect towards smaller buildings in this structural system, and also highlights some of its shortcomings. A 2-page letter from 'Arthur' (surname unknown) at the University of Melbourne's Department of Civil Engineering provides feedback to Boyd on his analyses of the chosen case studies.Original manuscript of article published in The Architectural Review Vol.134, No.801, November 1963, pp. 324 - 334. This draft was returned with covering letter from: ‘Arthur’ (AJF) Melbourne Uni. Dept Civil Engineering. Typewritten (c copy), foolscap, 14 (+2 quarto letter) pagesMinor handwritten editsengineering, tensile structure, master-designer, bernard lafaille, zagreb french pavilion, matthew nowicki, livestock pavilion, frei otto, paul rudolph, florida house, bill irwin, kevin borland, peter mcintyre, john and phyllis murphy, yuncken freeman, sidney myer music bowl, eero saarinen, yale hockey rink, edward d. stone, brussels u.s. fair pavilion, boston arts centre, walsh street, robin boyd, manuscript

Hardcover w/ Dust Jacketamerican history, 20th century, arts and society, popular culture, walsh st library

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample: ‘Larkspur’ pattern, Foliate design with flowers, red on a paler red background. Original design by Morris in 1872; revised by Morris in 1875. Sample is a later Morris-style wallpaper block reproduction from the 1970s. Pattern No. 133400.Stamped on verso: 133400CI / MADE IN ENGLAND. Inscribed in ink on verso: W. MORRIS / LARKSPUR / 133400 / $7.60decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a dado pattern. Three colour, repeat pattern of facing squirrels in brown on a green ground, bordered top and bottom in a brown on yellow design. Sample is a later Morris-style wallpaper block reproduction from the 1970s. Inscribed verso: No.14decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- dados

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of a front facing bird contained in a roundel in pale grey on a darker grey ground, regularly interspersed on a geometric design. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of fleur de lys in green on a paler green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of inward and outward storks surrounding a Celtic knot in dark blue on a paler blue ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of lions and rose bushes above the letters SS in a knot design in burgundy on a red ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, tightly designed repeat pattern of abstract flowers in a fan shape in cream on a green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., dado border design. Monochrome, repeat pattern frieze of flowers in an urn with an alternating design including a facing fox and flamingo in black on a red ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- dado borders

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co design. Monochrome, repeat pattern of fleur de lys and acanthus leaves in green on a paler green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

''It's dangerous to allow yourself to be loved'' This Theatrical adaptation of the ''Song of Solomon'' will challenge your perception of love. Cost at the door: $19.90 Full / $17 Friends and $12 Concession. Directed by Robert Draffin Designed by Lloyd James Cast : Mary Sitarenos , Paul English , Kerry Armstrong , Margaret Mills , Deidre Rubenstien. Musician : Chris Young .Music by Tyrone Landau and Chris YoungIt was played as a limited three week performance. It was sponsored by the Sidney Myer Fund, SBS 1224, Arts Victoria and Australian Council for the Arts.coloured flyersong of songs, athenaeum theatre, kerry armstrong

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

Deborah Halpern was raised in Nth Warrandyte. Her connection to the area and the significant contribution that she and her family (founding members of Potters Cottage) have made to the artistic heritage and culture of the Shire is acknowledge with the commission of this piece. Deborah Halpern is a highly recognised and respected local artist with an acclaimed national reputation in the arts community. This work is a gateway piece, welcoming residents and visitors into the Shire from the southern end of the boundary. 'Queen of the Shire' reflects the creative spirit that flows endlessly in the Shire, inspired by the landscape. This work forms part of a series of sculptures that Halpern has created along the banks of the Yarra in Melbourne ('Angel' - Birrarung Marr and 'Ophelia' - Southgate). This sculpture is an excellent example of Halpern’s ouvere and 'tile construction' technique for which she is renowned. Materials: coloured glass tiles, fibreglass, aluminium, steel. A sweeping stylised (female) form covered in bright and colourful tiles held aloft by two steel poles. queen, sculpture, semi-abstract, stylised, glass, tiles, public art, halpern, ek prac 2015

Mr Meek was the first person to build a house in Peterborough prior to 1858. Born in England in 1815 and came to Australia in 1838. this catalogue showcases his artistic skill. The art exhibition was curated by Joan Luxemburg as part of her PHD.Mr Meek is credited with building the first house in Peterborough. He was an artist and had a varied and interesting life and this book mentions the dates he was in Peterborough (Curdies Inlet, as it was then known) and his activities in Peterborough. 85 page soft cover catalogue of an exhibition held at the Art Gallery of Ballarat in 2015mr james mckain archibald john meek, calligraphy, calligraphic works, graphic arts, joan luxemburg, peterborough, curdies inlet