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Villa Alba Museum
Decorative object - Nursery wallpaper sample, Rural Town
A wallpaper sample donated to the collection by Frances Alexandra (Frankie) Derham (1894–1987). Derham was an Australian artist and educator. A lecturer in art at the Melbourne Kindergarten Training College (1928-64) , she later taught at the Associated Teacher Training Institution (1949-61). Her commitment to `child art’ developed after 1935 when she accepted an invitation from Margaret Lyttle to teach at Preshil school.Frances Derham's collection of nearly ten thousand children’s drawings and paintings was acquired by the Australian National Gallery in 1976. Her interest in art for and by children is reflected in her donation to the Villa Alba Museum of an important and rare collection of early wallpapers designed for children's rooms. Originally donated by Frances Derham to Villa Alba Museum via Terry Lane..decorative arts & design, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- children's, frances derham -
Victorian Aboriginal Corporation for Languages
Book, Ruth Learner, Indigenous languages of Victoria, revival and reclamation : Victorian Certificate of Education study design, 2004
Course design of Victorian Certificate of Education, on Indigenous languages of Victoria. Includes word lists.colour photographs, word lists, tablesvictorian certificate of education examinations, secondary school education, victorian education, indigenous art, worawa college -
Victorian Aboriginal Corporation for Languages
Book, Museum of Victoria Education Service, Aboriginal perspectives, 1996
The kit is designed for the general public, teachers and students, to give an understanding of Australian Indigenous people and culture and to break down stereotypes that are common in the school system and the wider community. The information presented is about the cultural, spiritual, economic and religious aspects of pre-contact societies. The impact of invasion on traditional societies and the post-colonial history of Australian Indigenous people is explored.Maps, b&w illustrations, b&w photographs, colour photographsculture, history, john batman, batman treaty, coranderrk mission, koorie culture, lake condah mission, kinship systems, aboriginal art, dreaming stories, kulin, gunai/kurnai, mara, wotjobaluk, wudjubaluk, koori -
Uniting Church Archives - Synod of Victoria
Container - Lidded sugar bowl
Robert Cochrane, 1843 - 1935, regarded as the "father" of Congregationalism in Victoria was chairman of directors of Brooks Ttnhinsnn Ptv.. Ltd.. and one of the leading personalities of the Congregational Union of Victoria. After having spent two years in Victoria as a member of Brooks Robinson Pty., Ltd., Mr. Cochrane returned to England in 1869. In 1883, he returned to Melbourne. On His return to Victoria he became interested in the work of the Congregational Church, and joined the Augustine Church, at Hawthorn in 1886; he was senior deacon when he died. For many years Mr. Cochrane was a senior member of the committee of the Congregational College of Victoria, and he took a leading part in the development of Congregationalism in this Victoria. Many benefited by his generosity and philanthropy, and his interest in the work of the church was combined with a generous assistance to child welfare organisations, including the Sunday School Union, the Kindergarten Union and the Boys Brigade. [Source: The Argus 4 Mar 1935, pg 8.]Silver plated brass double handle, lidded art nouveau-style sugar bowl with engraving on the front of the bowl."To Mr and Mrs Robert Cochrane A token of high esteem on the occasion of their Golden Wedding 1871 January 31st 1921 From the Firm of Henry Brooks & Company, with whom are associated two senior members from the London Staff Henry Aldridge and Walter Wiles"congregational union of victoria, brooks robinson pty ltd, melbourne chamber of commerce., robert cochrane 1843-1935 -
Hume City Civic Collection
Book, Elementary Drawing Copy Book
This is a facsimile of a drawing copy book compiled by an art teacher in london in 1864 and copied by the Ballarat Times, Sovereign Hill Goldmining Township for use at the Red Hill National School.A tan coloured cover with pages set out to enable students to copy different drawings printed at the top of the pages.teaching, primary school, sovereign hill goldmining township, george evans collection -
Sunshine and District Historical Society Incorporated
Sports Uniform (Netball) - TOTTENHAM NORTH PRIMARY SCHOOL, 'Ryder' Brand T-Shirt, Early to mid 1980's
This Netball uniform from circa 1986 was worn by a girl named Rebecca when she attended the Tottenham North Primary School. Tottenham North Primary School was opened on 29 May 1953 and was built on a South Road, Braybrook site purchased in 1929. After a fire in February 1961 the pupils were sent to the Powell and Curtin Street schools in Yarraville, and to the Maidstone and Sunshine East schools. The new building was officially opened on 22 August 1962 by A. McDonell, Director of Education, and it had sixteen classrooms, an art/craft room, and an assembly hall. Sporting achievements by the pupils included the 1963 football premiership and the 1968 cricket premiership. Over the years it has been called Tottenham Primary, Tottenham Crossing Primary, and Maidstone Primary. The different names resulted because of mergers with other local primary schools as the number of primary aged children in the Braybrook and Tottenham area changed. The school on South Road is now named Dinjerra Primary School. Dinjerra supposedly means 'out west' in the dialect of the original indigenous people of the area. Dinjerra Primary School is now the only neighbourhood government primary school in Braybrook Tottenham. The above information was sourced and compiled from: 1. 'Vision and Realisation - A Centenary History of State Education in Victoria - Volume 3', Education Department of Victoria 1973. 2. The Dinjerra Principal's website article at: http://www.dinjerra.vic.edu.au/91/Message-from-the-Principal.The netball uniform serves as a historic reminder that a school named Tottenham North Primary School once existed. The uniform also provides us with information of the colours used on these types of sports uniforms, and of the design of the School Logo.Two items of Netball Uniform. (a) Skirt - Maroon coloured wrap around sports skirt. (b) T-shirt - Yellow, Size 14 'Ryder' brand children's T-shirt, with maroon coloured triangular shaped School Logo printed on the front.TNPS. TOTTENHAM NORTH P.S. 4703 - (Printed inside triangle)sports uniform, netball skirt, netball t-shirt, tottenham north primary school, south road braybrook, tottenham primary school, maidstone primary school, tottenham crossing school, dinjerra primary school, tottenham north state school, state school 4703 -
Box Hill Historical Society
Book, Finlay, Eleanor and Morgan, Marjorie, Prelude to Heidelberg :the Artists' Camp at Box Hill, 2008
The book has many colour photos of the art work of the Heidelberg School. In particular, it focuses on the paintings in and around Box Hill.79pp; colour photos non-fictionThe book has many colour photos of the art work of the Heidelberg School. In particular, it focuses on the paintings in and around Box Hill.artists camps, artists, art, plein art painting -
Duldig Studio museum + sculpture garden
Sculpture, Karl Duldig, Mask by Karl Duldig 1921, 1921
Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back -
Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Portrait of Rella by Slawa Horowitz-Duldig 1917, 1917
Slawa Horowitz-Duldig) was both an artist and a designer, and both aspects of her practice are represented in the collection. There is an archive of approximately 255 drawings by Slawa dating from 1917 until 1922. Slawa’s sketchbooks from this period provide an insight into her early training and demonstrate the artist’s early interest in portraiture. A number of the drawings have been framed, but the majority remains 'in situ'. Slawa was a student at the Viennese Kunstschule für Frauen und Mädchen (the Viennese Art School for Women and Girls) (KFM) from 1917 until 1921, and in 1922 she became a student of Anton Hanak. The KFM School had been established in 1897 as a private school, and it was highly regarded both for its teaching staff and academic curriculum. By 1918 it had introduced stringent admission policy similar to those of the Austrian Academy of Fine Arts, and obtained government funding for its academic program, and began to focus on students seeking to pursue careers as professional artists. In 1921 when Slawa applied to the Austrian Academy of Arts for a place in its program, her application was unsuccessful, as her work was considered advanced, and a place in the third or fourth year of the program was not available. In 1922 she became a private student of Anton Hanak. Many of the portrait images from this early period concentrate on capturing the physical appearance of the face of the model. A number of these studies, in which the subject is not identified, display an academic approach to the genre. Her technical skills in capturing precise facial features of the model, the expression of eyes and the texture of hair are evident. These drawings were perhaps completed in the studio of the KFM School. There are also portraits of friends and family members, including her sister Rella and others, perhaps parents and grandparents, who have yet to be identified conclusively. It is these images of family and friends that particularly demonstrate Slawa’s confidence with pen, charcoal and crayon on paper. Amongst the group are several portraits that indicate the artist’s interest in conveying the inner psyche of a subject, as well as capturing a likeness. Ann Carew 2016The drawings from this period give us an insight into the artist’s early training, and the teaching methods of Viennese Kunstschule für Frauen und Mädchen, one of the first professional art schools for women in Vienna. The drawings and sketchbooks have artistic, interpretative and research significance as records of the art education of women in Vienna in the early 20th century. Ann Carew 2016Charcoal over pencil sketch on paper of Slawa's sister Rella.Artist signature in the bottom left corner. -
Duldig Studio museum + sculpture garden
Photograph, Slawa sitting on steps c1920, c.1920
Taken by an unknown photographer. This early photograph of Slawa Horowitz-Duldig was probably taken while she was still a student at the Kunstschule für Frauen und Mädchen (Art School for Women and Girls) in Vienna. In this ‘staged’ image Slawa presents herself as a painter, equipment at hand. Slawa had intended to continue her painting studies at the Academy of Arts but became a private sculpture student of Secessionist sculptor Anton Hanak at the Kunstgewerbeschule (School of Applied Arts) the following year. This early photograph is part of a collection of photos, drawings, sculptures and paintings which document the art training system for women in Vienna between the wars. art school for women and girls, anton hanak -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Panton Hill, c.1980
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Untitled (Beach), c. 1975
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.'Untitled' by David Armfield an oil on canvas painting depicts sand, sea, distant mountains and various figures scattered about in a typical Armfield landscape. The figures tend to be annonymous, sometimes included more to establish the scale than for a narrative purpose. The figures are well clothed and it could be assumed that it is not a hot summer's day. Depth is established by changing of colours and diminishing the size of the figures.david armfield, beach, eltham, nillumbik shire council -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Eltham 1965, 195
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire -
Nillumbik Shire Council
Ceramic (plate): Joan Armfield & David Armfield, David Armfield, Platter with dolomite glaze and Grevillia decoration, c.1975
David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield. -
Nillumbik Shire Council
Work on paper - Print (etching), Graham FRANSELLA, Beach I (figure), 1985
A finalist in the Shire of Eltham Art Awards in 1985. Born in Harrow, England, Graham Fransella studied at the Bradford School of Art, Yorkshire. He came to Australia in 1975. Graham Fransella lives and works in Melbourne and is represented by galleries across Australia.Fransella is an artist (printmaker) of national significance. “A feature of Fransella’s art is that it has an immediate visual simplicity, sometimes possessing the lucidity of graffiti-like directness, but this is attained through the most complex and intricate means. The surface on which he works is the arena in which he performs with an endless layering of marks, surfaces and signs. It seems that he surrenders to an intuitive process, one in which chance serves as an active collaborator. Ultimately his practice engages with the theory of the artist’s subconscious being allowed unbridled freedom of expression.” Sasha Grishin AM FAHA, in 'Gorgeous simplicity in signature themes: Graham Fransella', Sydney Morning Herald, April 5, 2014This etching depicts a busy and carefree day at the beach in bright colours of red and blue. The figures are drawn with spontaneity and simplicity, which is characteristic of Fransella's style. Figures are positioned in states of relaxation or bounce around beach scenes in joyful exuberance. eltham art award, etching, print, beach, figures -
Nillumbik Shire Council
Public Art: Tom SANDERS (b.1925-d.2008 Vic, Aus), Tom Sanders, Wall of the Moon (Homage to Miro) - (Location: Eltham Town Square, Arthur Street, Eltham), 1968
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro -
Nillumbik Shire Council
Painting: Lesley SINCLAIR (b.1901 - d.1999 AUS), Montsalvat
Lesley Sinclair studied art at the National Gallery School in Melbourne in the 1920s, and lithography at the Royal Melbourne Institute of Technology. She became a member of the Melbourne Society of Women Painters and Sculptors, but rarely exhibited her work. She was a student of Justus Jorgensen and a founding member of the Montsalvat group in Eltham. She lived at Montsalvat and taught painting until her death. -
Nillumbik Shire Council
Painting - Alan MARTIN (b.1923 - d.1989 AUS), Portrait of Alan Marshall, 1956
Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize. -
Westbourne Grammar Heritage Collection
Memorabilia - Year 12 Art and Signatures Book 1983 - 2018, 1983
In 1978 a new campus for Williamstown Grammar, named Westbourne, was established at Truganina to accommodate the new secondary school. The first year 12 class graduated in 1983 and to commemorate this historic event, the Year 12 art and signature book was begun. Since 1983, each Year 12 group has nominated a student to create an artwork, which in many cases represents a theme that was important to the Year 12 cohort at the time, to be signed by each student of Year 12. The practice quickly became to create the artwork on a separate sheet of paper and paste it across the fold of each consecutive double page spread. The book, opened at the entry of the graduating class, would then be displayed at the Year 12 Valedictory Dinner each year.This books commemorates each graduating year 12 class since the establishment of the secondary campus at Truganina. It is an example of beginning community building traditions for the new school.Red vinyl bound book with tan-coloured suede corners and spine. The front cover features gold embossed lettering of the school name above a school logo (self-adhesive applied after manufacture) with further embossed gold lettering 'Year 12' below. Artworks on paper have been adhered across bifold pages of the book, using unknown adhesive, each year between 1983 and 2018. Adhered pages contain mixed media. Pages at the back of the book contain lists with senior student office holder names and signatures for each year 1983-2018.year 12, graduation, valedictory, art, community, student work, prefects -
Westbourne Grammar Heritage Collection
Book - Charles Steedman, 1867, Manual of Swimming, 1867
Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar -
Buda Historic Home & Garden Castlemaine
Artwork, other - Illustration - Poster Design, Australian Exhibition of Womans' Work 1907, 1907
This original poster design was produced as entry in the First Australian Exhibition of Women's Work 1907 in Melbourne. Dorothy Leviny was studying art and design at the Bendigo School of Mines at this time, under the tutelage of Arthur T. Woodward, who was recognised as one of Australia's foremost proponents of the Arts and Crafts Movement. Reference: Castlemaine Art Gallery and Historical Society (2007): Catalogue. Portrait of an Exhibition. Centenary celebration of the first Australian exhibition of women's work 1907, p. 44.One of the few original poster design entries known to remain in existence from the First Australian Exhibition of Women's Work, Melbourne 1907.Original poster design by (Bertha) Dorothy Leviny for the 'Australian Exhibition of Womans' Work', Melbourne 1907. Watercolour design showing Exhibition Buildings (Carlton) and five women in medieval costume blowing their trumpets with trees in background. Text top: 'Australian Exhibition', bottom 'of Womans' (sic) Work' and lower left corner 'Melbourne/1907/Oct, 23rd to Nov. 30.Lower right-hand of design - Dorothy Leviny's insignia: A 'B' inside a 'D' with and 'L'(bertha) dorothy leviny, first australian women's exhibition, 1907, exhibition building, carlton, australian women's work, watercolour design, poster, arts and crafts movement -
Koorie Heritage Trust
Book, Bourke, Colin, Before the invasion, Aboriginal life to 1788, 1980
Blurb: Before the Invasion gives a vivid overview of traditional Aboriginal life. It describes what Aborigines wore, their houses, weapons, tools, canoes, and shows their practical ingenuity and resourcefulness in making the most of what their environment offered. It also covers families, clans, roles of men and women, attitudes to children and the old; and the religious world-view which determined the rhythm of their life and underlay all their laws art and music. The authors bring out the broad patterns Australia-wide, but they are careful to note the differences between groups in different areas and to give specific documented examples...112 p. : ill. ; 21 x 23 cm.Blurb: Before the Invasion gives a vivid overview of traditional Aboriginal life. It describes what Aborigines wore, their houses, weapons, tools, canoes, and shows their practical ingenuity and resourcefulness in making the most of what their environment offered. It also covers families, clans, roles of men and women, attitudes to children and the old; and the religious world-view which determined the rhythm of their life and underlay all their laws art and music. The authors bring out the broad patterns Australia-wide, but they are careful to note the differences between groups in different areas and to give specific documented examples...1. aborigines, australian -- social life and customs. schools - project referencers. i. johnson, colin, joint author. ii. white, isobel m., joint author. iii. title -
Whitehorse Historical Society Inc.
Article, In the name of beauty, 15/04/1992 12:00:00 AM
Heatherdale Primary School pupils art decorate Heatherdale Station under the supervision of their art teacher Dot Brown.Heatherdale Primary School pupils art decorate Heatherdale Station under the supervision of their art teacher Dot Brown.Heatherdale Primary School pupils art decorate Heatherdale Station under the supervision of their art teacher Dot Brown.railways, heatherdale primary school, heatherdale railway station, browne, dot, reynolds, andrew, middleton, owen -
Whitehorse Historical Society Inc.
Article, Class Art, 1/12/1992 12:00:00 AM
Students from Blackburn South Campus of Forest Hill Secondary CollegeStudents from Blackburn South Campus of Forest Hill Secondary College complete a Mural as part of Nunawading Schools Community Arts Project.Students from Blackburn South Campus of Forest Hill Secondary College forest hill secondary college - blackburn south campus, nunawading schools community arts project, artists, hannah, vel -
Whitehorse Historical Society Inc.
Article, Art Takes a High Profile, 5/09/1990 12:00:00 AM
Namara and Parkmore Primary Schools selected for Nunawading's School Art and Education Program.Namara and Parkmore Primary Schools selected for Nunawading's School Art and Education Program. With photo.Namara and Parkmore Primary Schools selected for Nunawading's School Art and Education Program. narmara primary school, burwood east, parkmore primary school, no. 4881, price, rick, pavey, peter, brooks, tanya -
Whitehorse Historical Society Inc.
Article, Artist has landscape sewn up, 2001
Textile artist Annemieke Mein's work will be exhibited at the Monash Gallery of Art. Annemieke attended Nunawading High School.Textile artist Annemieke Mein's work will be exhibited at the Monash Gallery of Art. Annemieke attended Nunawading High School.Textile artist Annemieke Mein's work will be exhibited at the Monash Gallery of Art. Annemieke attended Nunawading High School.mien, annemieke, textile art -
Whitehorse Historical Society Inc.
Article, For Ats' sake, 1990
Nunawading Schools Community Art Project for more than 10 years has encouraged local students to be artistic and creative. The project sponsored by the city of Nunawading gives primary and secondary students the chance to work with professional artists.nunawading schools community arts project, city of nunawading, mourney, hazel, brown, margaret, atkinson, bruce, o'neil, jan, heatherwood special school, antonio park primary school, blackburn lake primary school no 4860, lobos, robert, spicer, grant, green, rebekah, tierney, damien, clark, felicity, feiner, julia, werner, michelle, pringle, mark -
Whitehorse Historical Society Inc.
Article, Simplicity of McCubbin Art Lives On, 1991
Artist Frederick McCubbin's daughter, Kathleen Mangan, recalls her childhood at the opening of an exhibition of her father's work at the National Gallery of Victoria. With photo.heidelberg school, mccubbin, frederick, mangan, kathleen, heidelberg school, whitelaw, bridget -
Whitehorse Historical Society Inc.
Article, In Celebration of Dear Old Prof, 1991
The Art of Frederick McCubbin exhibition at the National Gallery of Victoria, from 18 Dec 1991 until 25 Feb 1992. With photo.shows and exhibitions, mccubbin, frederick, heidelberg school, national gallery of victoria -
Whitehorse Historical Society Inc.
Article, Heritage Mission, 1992
Blackburn was once the inspiration for some of Australia's most famous rural art scenes. With photo.heidelberg school, wolseley crescent, blackburn, no. 7, mccubbin, frederick, abbott, kevin