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Federation University Historical Collection
Sheet Music, Boosey & Hawkes Ltd, Sirius, Diversions on an Original Theme, mid 1900's
Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.1). This includes the original thirty-one page handwritten Full Military Band Score of 'Sirius, Diversions on an Original Theme' arranged by Frank Wright. It was written in pen in small, neat writing. 2). There is also a copied Full Orchestral Score, which was originally hand written in the style of the era. 3). As well there are two distinct copies of all the printed parts for the music, one in portrait by Boosey & Hawkes Brass Band Journal 4). and the other in landscape by Molenaar. 5). The Molenaar edition also includes one large buff coloured edition of the printed music, 6). one blue covered printed edition of the music 7). and four small paper copies of the music. 8). Lastly is a hand written note from Frank Wright showing all the instruments used in this piece.The original score is handwritten as is the note 'Parts of Sirius'frank wright, musical arranger, sheet music, score, sirius diversions on an original theme, original score -
Melbourne Tram Museum
Document - Photocopy, The Age, "Old trams to bet boost as depot reaches end of line", "Tram depot is saved by the bell", Aug. 1998
Photocopy of two newspaper articles about the consultation for the redevelopment of the former Hawthorn Tram Depot "Old trams to bet boost as depot reaches end of line" - written by Paul Robinson of the Age, dated 19/8/1998 about the study proposals for the future of the Hawthorn tram depot - built around the theme of having a museum there. Quotes ULC document, Mayor of Boroondara, Loreto Davey. Has a view from Wallen Road as a photograph. "Tram depot is saved by the bell" - written by Lyall Johnson of the Age, dated 14/8/1998. Includes a photograph of Margaret Drew at Southbank depot sitting inside V217. Reports on the study for the redevelopment of the site. Quotes the Minister for Transport's Press Release and the Chairman of National Trust's W class Trams Committee, Michael Norbury.trams, tramways, hawthorn tram depot, heritage, minister for transport, tram depot -
Nillumbik Shire Council
Painting: Adriane Strampp (b.1960 Wisconsin, USA), Adriane Strampp, Into the Night, 1987
Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp -
Merri-bek City Council
Print - Digital image, Marshall White, Strip 1, 1987
Marshall White is a former Merri-bek resident and artist. He completed a Fine Art diploma at the National Gallery Art School in 1973. After a severe motorcycle accident left him with quadriplegia in 1977, he returned to university, earning a Master in Painting from what is now the Victorian College of the Arts. White is considered a pioneer of digital art in Victoria. He taught art to inmates at Pentridge Prison, which provided him with access to early computers. Using a Commodore Amiga, Marshall pushed the boundaries of digital art. Strip 1 represents an early contribution to what was, at the time, an emergent art form. Inspired by William Blake and Arthur Boyd, White’s work delves into psychological spaces, addressing themes such as the apocalypse and White’s distain of religion. White's work exemplifies resilience and the transformative power of creativity in the face of challenges.Purchased -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, As Sorted, 2022
Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Clay Pits of Brunswick, 2022
When I visit Merri-bek I wonder, when I step on the tarmac of the Barkly Square carpark, what was here before? In fact, at this spot and across Brunswick there were clay pits, which would feed the pottery workshops in Brunswick that produced the pottery, gargoyles and decorative items for Marvellous Melbourne homes and suburbs. Marvellous for those who had profited from gold, property and finance, not so for those working in the clay pits. My print is a contemplation on what is beneath our feet and our relationship to the ground. I am a design academic working at RMIT University and began my print and design practice on a Golding foot-treadle Letterpress machine.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Hard Rubbish, 2022
Merri-bek’s bi-annual collection and the communities’ tendency to dump rubbish makes these temporal sculptures part of the visual landscape of walking in Merri-bek. The collections of personal items, untold stories and connections which we all piece together whilst on an afternoon stroll. Over the years trends in pet ownership and technology advances can be documented in discarded items, also commenting on wealth and material value of objects. I have been living, parenting, working and volunteering in Merri-bek for the last 9 years. As time passes the community and landscape shift and change as does my connection to it. A once dedicated art practice is now tumbled around with life and family. Photography, video, drawing and painting are used to explore ideas around the everyday and meaning we attach to small moments of time.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Bin Chicken Island Campground, 2022
With two young kids, I often find myself at Coburg Lake on a weekend, playing amongst the natural beauty of the park area, rugged embankments, local birdlife, and... ‘Bin Chicken Island’. Bin Chicken Island has become a running joke in the community, known for its wafting stench and as an environmental eyesore (never go to the park on a warm day with an easterly breeze). So much so that someone added a campground listing on the island to Google Maps. Whenever I drive past the lake, I always keep an eye out for disgruntled backpackers who have realised that the only camping to be had is by the Bin Chickens themselves. I am a local graphic designer who lives in Pascoe Vale and works in Brunswick. I head up the design studio, Atticus Design.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Streets with no Beats, 2022
The image is based on a 3D component of one of my recent series of jewellery artworks. The heart metaphorically alludes to two locations of Merri-bek. One is Moreland Road, the other is Wallace Street in Brunswick. These locations pinpoint a time of collective trauma and communal experiential reflection. I was born in Brunswick in 1984 and have lived and worked there since. Brunswick for me is filled with stories of family, community, growth, tragedy and history experienced across a Greek Diasporic framework.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Chatting with Locals - Sound Lines of the Red Wattlebird, 2022
My work is dedicated to the animal residents that cohabit with us in the suburbs. I focused on the Red Wattlebird, as it is always a welcome visitor across the gardens and parks of Merri-bek. The frayed edges of the page from my notebook are reminiscent of the act of note taking and how we remember and observe things in our daily lives. I am a local artist and writer living in Naarm with a studio in Coburg as part of Schoolhouse Studios.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Ancestral Bouquet, 2022
Ancestral Bouquet is a visual homage to the different plant species each migrant community brought with them to the lands of Merri-bek. It is a celebration of these plant communities and those (elderly migrants) who still know and practice traditional forms of food harvest and preparation. I was born and raised in unceded Wurundjeri Willum Country, in Coburg. My Father lived in the Southern Suburbs of Naarm as a refugee from Palestine, and eventually found Coburg as a place he could fit in as a migrant. My arts practice varies in modalities, and always comes back to the story of displaced cultures, my folklore, and my connection to Coburg and the Merri Creek.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Untitled, 2022
This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Flagstaff Hill Maritime Museum and Village
Instrument - Drainage Level, 1750-1795
Adams jnr wrote many elementary scientific works, as well as on the use of mathematical instruments. He often combined in his written works with religious themes and scientific content, often against the prevailing thoughts of the time. According to one popular magazine of the time (Gentleman's Magazine), his works were often accused of "growing errors of materialism, infidelity, and anarchy". He started writing at a young age and developed a love for it, his main interests included math and science, these subjects he often expressed in his written essay's. Notable works from Adams are. An Essay on Electricity, and Magnetism (1784). Essays on the Microscope (1787). An Essay on Vision, briefly explaining the fabric of the eye (1789). Astronomical and Geographical Essays (1790). A Short Dissertation on the Barometer (1790). Geometrical and Graphical Essays, containing a description of the mathematical instruments used in geometry, civil and military surveying, leveling and perspective (1790). Lectures on Natural and Experimental Philosophy, in five volumes (1794).George Adams Sr and Jnr were both notable opticians and scientific instrument makers of the 18th century. Their contribution to scientific innovation and optical development cannot be underestimated. Having one of their early drainage levels in the collection and in extremely good condition is an asset to the Flagstaff collection.Drainage level or optical level. A brass surveying instrument with Achromatic telescope, bubble level and dial fitted to the Tribrach or footplate that has leveling screws. Tripod is wood and brass with adjustable and unscrewable legs (for ease of transportation). Made by "G. Adams Fleet St, London". Used in surveying and building to transfer, measure and/or set horizontal levels."G. Adams - London".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, george adams fleet street london, optical instrument, scientific instrument, technical instrument, surveyors level, george adams snr, projection microscope -
Glen Eira Historical Society
Article - Caulfield State School No. 773
Seven articles on school and students past and present activities: Article on 2011 prep childrens first day at school, dated 15/02/2011 Former student shares his recollections during Education Week; dated 31/05/2011. Student making ecofriendly works with household rubbish, dated 29/06/2011 Students perform Songoku in Japanese, a play written by school’s Japanese staff dated 27/09/2011 Annual school fete has a Japanese theme, including Japanese drummers concert. dated 15/11/2011 School to receive a visit from Victoria’s Governor and his wife, following a visit from local Mayor, Education minister and Japanese Consul General; dated 15/05/2012 Article dated Nov, 2012 regarding the success of the bilingual curriculum at Caulfield Primary School. Noting that there are only 12 in Victoria.caulfield primary school, davies emma., davidson angela., glen huntly road., primary schools, artists, caulfield south, gray peter, school plays, japanese bilingual program., hyams jamie, principals, songoku, suzuki- bevan miho, mayors., patterson; ron, oakley sonya, grants, glen eira, governors -
Eltham District Historical Society Inc
Photograph, Grace Mitchell, A young Jenni Mitchell with flowers and teddy bear on Main Road Bridge, Eltham, 1958c
Grace Mitchell was probably best known for her Eltham shop at the corner of Mt Pleasant Road and Main Road. Grace's memories covered many local identities who were patrons of her shop between 1954 and 1971. From the elevated position of her shop and home Grace was able to view a varied passing parade of Eltham events from ERSILAC, Easter and Eltham Festival parades passing on their way to Eltham Lower Park, circuses in Wingrove Park (then Bremner’s Reserve), roadworks and other happenings. Bremner's Reserve was renamed Wingrove Park c.1970 This photo of her daughter Jenni was from a series of images presented by Grace Mitchell at a Society talk 10 March 1993 on the theme of “My Eltham”. Jenni Mitchell was born 1955 according to Australian Art Sales Digest and grew up to become a noted local Eltham artist and one time Councillor.Black and white print 17 x 25.4 cmjenni mitchell, main road bridge, eltham -
Warrnambool and District Historical Society Inc.
Book, Price warung - Barry Anderews, 1976
This is a biography of Price Warung by Barry Andrews. Price Warung (1854-1911), whose real name was William Astley, has a place in Australia’s history as a journalist, writer and campaigner for Federation. He worked for a great number of newspapers throughout Australia and began an association with the Sydney ‘Bulletin’ in 1890. At this time he wrote the powerful works for which he is best remembered – ‘Convict Days’, four volumes of stories about Australia’s convict period. The major theme of these stories is the sordid nature of the convict system. Astley became heavily involved with the Federation campaign, firstly as the Secretary of the Bathurst Federal League and then as the organizing Secretary of the 1896 Bathurst Convention. This convention is considered by historians to have given the Federation campaign a new and vigorous vitality. In 1898 Astley wrote most of the official articles publicizing the ‘Yes’ vote in the Federation referendum. Astley lived and worked in Warrnambool in 1883/4 (for about twelve months) as a journalist for the Warrnambool ‘Standard’. This book is of great interest as it documents the life of Price Warung (William Astley) who features in the history of Warrnambool journalism as an Australian writer of note who also wrote for the Warrnambool Standard. Examples of Astley’s journalism can be found in the Warrnambool Standards of 1883/4. He wrote lengthy articles in a free-flowing and attractive but verbose style. His two articles on the well-known horse stud and hop farm called ‘Bryan O’Lynn’ appeared in the Standard in October 1884. This is a hard cover book of 197 pages. It has a dark green cover with an image of a world globe and a Pegasus on the front. The printed title, the author’s name and the images are in gold print. The cover has a plastic overlay and a library label had been mostly removed from the bottom section of the spine. The book has notes on the author, a photograph of Price Warung, a Preface, Acknowledgements, Chronology, eight chapters on Price Warung, Notes and References, a Bibliography and an Index. Inside front page: ‘Jane Carpenter’ Stamp: ‘Withdrawn from Library’ price warung (william astley), warrnambool and federation, federation movement in australia, history of warrnambool, warrnambool standard -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Badge - Centenary of Melbourne, c. 1935-35
White metal medal issued to commemorate Melbourne’s centenary 1934-35. This medal was given out to Victorian school children; 325,600 white metal medals were struck. The medal references Portland, the location of Victoria’s first settlement. The Henty brothers, entrepreneur farmers and whalers, established the state’s first permanent European settlement in Portland in 1834. Melbourne was established the following year by a party of settlers led by John Batman. In 1934, as Melbourne planned to celebrate the centenary of European settlement, it seemed to some that there was little to celebrate. The financial strains of the depression, unemployment and the scandal of the city’s slums all undercut claims of unbridled progress. Perhaps because of such troubles, the organisers of the centenary celebrations tried doubly hard to be positive. The themes of the celebrations were conservative, reflecting the desire of some Melburnians for security in troubled times. The widely promoted image of the ‘Garden City’ and ‘Queen City of the South’ emphasised the idea of Melbourne as a very British city. White metal badgeCentenary of Melbournemelbourne centenary, victorian school children -
Flagstaff Hill Maritime Museum and Village
Painting - Oil painting, John Dollery, The Chase, c. 1980s
This painting shows a historic depiction of Australian whalers in action at sea, and shows the scale of man to whale. Whaling was one of the first industries in early Victoria. John Dollery was born in London in 1933. As a child he loved to draw and was a frequent visitor to the National and Tate Galleries. In 1957 Dollery came to Australia, settling in Queensland in 1965. After receiving a prize in a drawing exhibition, he began painting in oils, and is entirely self-taught. Whilst in Queensland he painted most of his canvases strictly from life and in 1977 he moved to Melbourne where he established himself as a full-time artist. John was very interested in Australia’s history, and most of his work represents this theme. Many of his pieces are in collections both in Australia and overseas. Dollery’s daughter is also an artist and has exhibited both her father's and her own works together in an exhibition 'Now and Then, Father and Daughter'.The painting is a significant work by artist John Dollery. Its subject of whaling shows an early Australian industry and shows the scale of man to whale. The decorative frame is appropriate for the era in which the scene would have taken place.Painting in oil on canvas, in gilt carved timber frame. Seascape, depicting a whale hunt. A spouting whale is behind a whale boat with six whalers aboard. A tall ship with seamen aboard is behind the whale. Two other tall ships and another whale boat are in background. An embossed plaque in bottom centre of lower frame has inscription.. Artist is J. Dollery. Stamped on the sticker “John Dollery / ARTIST / Crown Lot 16 The Esplanade Corinella, Victoria 3984 / Telephone: (056) 78 0644 “ Hand written on sticker “THE CHASE $xxx” Embossed in the wooden frame “30 / ART / Specturm” Signed “J DOLLERY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, whales, whaling, industry, whale oil, blubber, john dollery, the chase, corinella, historic art work, australian art work, australian historic artwork -
Ararat Gallery TAMA
Mixed media, Irusaq Presenter at Arm's Robe, 1986-1989
“All Irusagi robes of office are highly symbolic. Generally black or dark blue, they are richly jewelled and embroidered; each one individually designed for its owner, as he, or she, takes office at the central court. The miniature is a record of this office. This, the Armourer’s Robe is typical of the richly decorated formal styles of the 10” to 12" Centuries Post Imperium. The symbolism is obvious: oversleeves of silver, to indicate one of the metals used in the making of weapons; decorative daggers, indicative of the famous throwing and fighting knives; studs, symbolising protective armour; and touches of red alongside the predominating metal, to represent the shedding of blood, (a minor theme, because bloodshed is undesirable). The Void, the centre of Irusaqu worship is always shown on this Robe, because all fighting men or women have a deep religious responsibility to obey the Voidic code. Lastly, the jewel, with its elongated triangle, forms the ancient symbol of Man, at the base of the Void, but not subordinate to it.” -Inga Hunter -
Federation University Art Collection
La Perruque, 2018
Laresa KOSLOFF Laresa Kosloff makes performative videos, Super-8 films, hand-drawn animations, sculpture, installations and live performance works, all linked by an interest in the body and its agency within the everyday. Recurrent themes include humour and tension between received cultural values, individual agency and free will. La Perruque won the 2018 Guirguis New Art Prize. ‘Laresa is a worthy winner having been dedicated to her practice over many years and creating a work that is intelligently structured and steeped in satire, epitomising what we all either know or experience at work or in office life. By her clever collaging of characters, editing and story adaptation, Laresa has created an impressive fictional and insightful work that by way of its very construction cleverly illustrates and articulates aspects of Australian culture,’ (Shelley Hinton, Curator Federation University’s Post Office Gallery)A USB and a portable hard drive in a black archival box with a signed certificate. Her short film La Perruque is made entirely out of commercial stock footage, generic material produced for corporate advertising, which is strangely artificial, simplistic and loaded with images of success and productivity. Kosloff uses this footage to tell the tale of an office worker who is secretly trying to write a novel during work hours. The silent footage has been dubbed using voice actors and assembled into a story that subverts commercial representations of office life. The title refers to a French term that translates into 'wearing the wig', used to describe a situation of secretly working on personal projects during work time.guirguis new art prize, video -
Melbourne Legacy
Album, Anzacs Remembered World War 1 1914-1918 Offical Coin Collection, 2015
A display folder for a set of 20 cent coins issued in 2015 to commemorate 100 years of Anzac and the First World War. Based on photos chosen from the Australian War Memorial archive, the ANZAC Official Coin Collection includes fourteen coins that have been designed and produced by the Royal Australian Mint to mark significant aspects that occurred in the First World War. Our set contains 13 coins. The First World War themes featured in this collection include the war years, mateship, Light Horsemen, the home front, the Royal Australian Navy, Remembrance Day, Nurses, wartime animals, The Last Post, War Correspondents, Australian Flying Corps, Australian Imperial Force, the Unknown Soldier, and the Gallipoli Landing. Project was issed by the Royal Mint and supported by the Australian War Memorial, Newscorp, Westpac and Legacy. The set, including coins was used as a prize in the JPESA speaking contest that Melbourne Legacy ran for many years until 2022.A type of prize given at a Legacy speaking competition that commemorates World War 1.Cardboard folder for a coin collection to be inserted in. Folds out into 6 sections. Red cord to tie the folder closed.coins, world war one -
Melbourne Legacy
Newspaper - Article, The Sun News Pictorial, Ready for Legacy show, 1960
A newspaper article promoting the annual demonstration in The Sun on 1 October 1960. The photo shows a group of young girls in Legacy uniforms. The story says that boys and girls from Legacy were rehearsing for their annual demonstration at the Olympic swimming stadium. About 1000 children take part in the display. Highlights were physical trying exhibitions by the boys and ballet scenes by the girls. The theme of the show is the activities of Legacy throughout the year. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics, the Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of photos taken in 1960 for promoting Legacy's annual demonstration.Newspaper article of girls preparing for the Annual Demonstration pasted to brown page of a scrap book .annual demonstration, junior legatees -
Melbourne Tram Museum
Slide - Black and white - reproduction - Carlton cable tram and crews, 1912
Reproduction slide of a photograph of a cable tram, trailer number 201, with the destination or Carlton with the grip man and conductor standing in front of the tram. Both are young men. The conductor is adorned with his safety pins and trip slips, that he would punch a hole in when he sold or collected a fare. The bell punch in the conductor's right hand would sound a bell to indicate the fare had been collected. There is a church vicarage in the background - at Prahran terminus in Chapel Street outside Trinity church. Underneath the photo is written "A Paradox: two Badger ?" which is a reference to the General Strike in Brisbane of Jan 1912 by Brisbane Tramway Company workers over the wearing of Union badges which was strongly opposed by the Company Manager Joesph 'Boss' Badger. See also item 7485 for a similar-themed photograph about the Badger. At the time there was a major industrial or arbitration case before Mr Justice Higgins regarding Australian tramways employees and their working conditions.Demonstrate cable tram uniforms and cable tram trip slips that were used to account for fare collection and has a close association with an event in Brisbane that led to a General Strike.Kodachrome cardboard duplicate slide - Black and white - reproduction - Carlton cable tram and crews - 1910s? "CB7" in penciltrams, tramways, cable trams, carlton, bell punch, unifoms, crews, grip men, conductors, prahran, tram 201, unions, brisbane, joesph badger -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Brian Weedon, 2/03/1969 12:00:00 AM
Black and white photograph of SEC Ballarat No. 21 decorated for the 1969 Ballarat Begonia Festival. Photographed at a Wendouree Parade crossing loop by Brian Weedon 2/3/1969. Tram is painted white - based on the Myer's Christmas tram of 1968 (See Reg. Item 1881) and used later for the Ballarat Base Hospital Appeal May 1969 Begonia Festival (See Reg. Item 1885). Theme: Festival Showboat. Tram has destination of "Gardens via Drummond Nth", a sign under the headlight "Begonia Festival Feb. 28 Mar. 10". On the side of the tram has the various festival activities within circles and a paddle wheel with the words around it of "Festival Showboat" The roof advertisement board says "Ballarat Begonia Festival Feb. 28 March 10th 1969" and on the base of the sides a sign saying "Wave upon Wave of Festive Activities". On rear in black ink "Ballarat 2nd March 1969 / Photo by Brian Weedon" and hand stamped two processing items, including a date "11.3.69".trams, tramways, begonia festival, decorated trams, wendouree parade, festival, tram 21 -
Melbourne Tram Museum
Magazine, Metropolitan Transit Authority (MTA), "Met Lines", 1988
Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, centre stapled with the MTA logo or symbol. Issued under the name of Kevin Shea as Chairman. Continues from Reg Item 1142 "Met Lines" - printed in an A4 version. Major tram and bus items listed. Tramway names only listed, not railway. .1 - March 1988 - The Pandas car coming! - 20 pages - lists MTA Board, under Minister Jim Kennan; Helen Davison, Jenny Acton, Tony Tuohey, Sybille Kalbitzer, Greg Rodgers, John Usher. Advertising on trams etc, by Australian Posters - contractor, includes a photo of 814 as the Summer in the City tram, Transport Information Centre, launch of St Kilda light rail, photo of test tram 533, Tom Roper, tram 2002. Photo of farewell at Essendon depot. Final W2 - last tram in regular service - 646. .2 - June 1988 - Football theme - 16 pages - Station improvements, Jolimont Decentralisation, advertising the Met (photo for 273), new computer systems, Panamonium - pandas at the Zoo and Z8 painted for the event, new MAN buses - photo of 260. .3 - September 1988 - Uniquely Melbourne theme on the cover, some of the items sold at The Met shop, - 20 - photo of Light Rail vehicle lifting equipment at the workshops with Jack Armstrong and Les Jean, opening of The Met shop, Metrol, kids take a peek at trams (Brunswick depot). .4 - December 1988 - Festival season cover - 20 pages - MAN buses to Elwood, Transport Technology conference, article on the Thornbury Tramway Flyover (the Hump) at Preston Workshops - collisions or accidents on the flyover, tramcar details - submitted by Norm Cross. For next year 1989 - see Reg Item 1184trams, tramways, the met, mta, advertising trams, light rail, st kilda, essendon depot, zoo tram, buses, preston workshops, brunswick depot, the hump, bridges, w2 class, last tram, tram 814, tram 2002, tram 533, tram 2001, tram 8, tram 273, tram 646 -
Eltham District Historical Society Inc
Photograph, "As we are" Community Banner Project, c.Oct. 1986
Eltham Day Care Centre The Centre made two banners; the first was made during a one-day workshop with Tracey Naughton utilising individual fabric painted triangles and joining them together. This workshop was so well received that the Centre wanted to make another banner over a longer period. Tracey suggested that local felt artist, Alice Ruxton, Tracey's grandmother, work with the group. The group wanted to do something with an historical theme and Tracey brought some photos from the Historical Society's files. A design was created from these. Felt, a physically demanding medium, attracted a number of men to participate in this banner, as well as women. Weekly workshops were held over a couple of months, with everyone at the Centre very interested. The completed banner was returned to Tracey to attach a backing. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, pp30-31)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, eltham day care centre, community banner project, tracey naughton -
Eltham District Historical Society Inc
Slide - Photograph, Grace Mitchell, Golden Fleece Service Station at the corner of Main Road and Mount Pleasant Road, Eltham, c.1961
View from Grace Mitchell's shop at the corner of Mount Pleasant Road and Main Road. Grace Mitchell was probably best known for her Eltham shop at the corner of Mt Pleasant Road and Main Road. Grace's memories covered many local identities who were patrons of her shop between 1954 and 1971. From the elevated position of her shop and home Grace was able to view a varied passing parade of Eltham events from ERSILAC, Easter and Eltham Festival parades passing on their way to Eltham Lower Park, circuses in Wingrove Park (then Bremner’s Reserve), roadworks and other happenings. Bremner's Reserve was renamed Wingrove Park c.1970 This photo was from a series of images presented by Grace Mitchell at a Society talk 10 March 1993 on the theme of “My Eltham”. The Holden wagon appears to be an FB or EK model with finned rear taillights. The FB was produced January 1960-May 1961 and the EK May 1961 to July 196235mm Kodak 5052 TMX Black and White transparency, 1 strip, 6 frames Black and white print 17 x 25.4 cmgolden fleece service station, main road, mount pleasant road -
Vision Australia
Photograph - Image, Illawarra Troupers Visually Impaired Drama Group
Supported by volunteers and friends, and with some members accompanied by their guide dogs, the Illawarra Troopers was a drama group for visually impaired people. Their first concert was held in 1977, and the group continued to entertain local audiences for many years. Illawarra Troopers: a visually impaired drama group (inauguarated 1977) Members Roll: Geoff Cortous, Dulcie David, Les Littleton, Gladys Downs, Hester Whiteside, Eileen McDonald, Peg Clark, Ralph Chamberlain, Albert Smith, Nora Cooper, Arthur Williams, Pat Baum, Ivy Mallet, Mary Chettle, Ethel Jardine, Peter Tapp, Jack Lambert, John Philipson, Len Hoyle, Rob Archibald, Daisy Stepnell, Neville King, Alice Sloan, Ada de Medici, Eric de Medici, Patricia Harrison, Llona Smith. Guide Dogs: Inga, Yvette, Igor, Rene, Leonardo. Producer: Jo Kirtley. Assistants: Judy Phillips, Val Anderson, Maisie Littleton, Dorothy Nicholls, Florence Mlodawski. Troopers Theme Song: Words by Olive FoleyPicture of wooden board with engraved names of the Illawarra Troopersassociation for the blind, nameplates -
Vision Australia
Mixed media (item) - Object, Australia Post, 1987 Christmas stamp issue
In 1987, Australia Post released Christmas stamps and two first-day covers (envelopes with stamps affixed) with the Carols by Candlelight theme. The top first-day cover has a red candle in a gold old-style candlelight holder, with five stamps showing groups of people who are singing and holding similar candles. A large '50th Performance of Carols by Candlelight, Melbourne, Vic 3000, 24 Dec 1987' mark is stamped on the envelope, which has a background image of the Myer Music Bowl, a candle and songbook. The lower first-day cover has a boy holding a red candle in his right hand and a songbook in his left, singing. Two stamps, different to the ones in the envelope above, are affixed to the envelope and consist of groups of people holding red candles and singing. One '50th Performance of Carols by Candlelight ...' cancellation mark is stamped. In between the two envelopes is a photograph which shows the Myer Music Bowl at night, from the rear of the large crowd who are holding candles and songbooks.royal victorian institute for the blind, carols by candlelight -
Melbourne Legacy
Currency, Anzacs Remembered World War 1 1914-1918 Offical Coin Collection, 2015
A set of thirteen 20 cent coins issued in 2015 to commemorate 100 years of Anzac and the First World War. Based on photos chosen from the Australian War Memorial archive, the ANZAC Official Coin Collection includes fourteen coins that have been designed and produced by the Royal Australian Mint to mark significant aspects that occurred in the First World War. Our set contains 13 coins - missing the Australian Flying Corps. There is also a folder to store the set in. The First World War themes featured in this collection include the war years, mateship, Light Horsemen, the home front, the Royal Australian Navy, Remembrance Day, Nurses, wartime animals, The Last Post, War Correspondents, Australian Flying Corps, Australian Imperial Force, the Unknown Soldier, and the Gallipoli Landing. Project was issed by the Royal Mint and supported by the Australian War Memorial, Newscorp, Westpac and Legacy. The set, including coins was used as a prize in the JPESA speaking contest that Melbourne Legacy ran for many years until 2022.A type of prize given at a Legacy speaking competition that commemorates World War 1.Thirteen uncirculated 20 cent coins in cardboard mount, each commemorating an aspect of World War 1. coins, world war one