Showing 87 items matching artist's model
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Mont De Lancey
Decorative object - Horse Piano Box Buggy Model, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Piano Box Buggy replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a red and black Piano Box Buggy c.1860 which was a lightweight two wheeled one passenger open horse drawn carriage with a black canopy roof where the driver sat behind. It has two large and two smaller gold painted spoked wheels with black rims, brown painted seating, two gold coach lamps and a black patterned footrest in front of the driver. The canopy has thin gold struts to open and close it depending on the weather. There are two long brown wooden shafts on each side to surround the horse. It has a model of a biscuit coloured horse with a white tail and mane with the necessary horse tack for carriage use to help the driver communicate with the horse. It was also known as the 'Bonner Buggy' and had many variations. Coach builders designed and made their own style, giving it their own name. There could have been scores of different Piano Box buggies.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses -
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Mont De Lancey
Decorative object - Small Wheel Lorry, Mr Chas W. Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a long four spoked wheeled wooden flay tray drawn by a brown horse. The wooden shafts are to control the horse whilst working. It has a grey wooden ice box with a metal lid with ICE painted in black letters inside a black lined outline on the side. On the side of they lorry or dray is painted WOOD - COAL - COKE - C. MEE LA1271 in black paint. These are long strong carts or drays without fixed sides for carrying heavy loads. They were the truck of the horse drawn era, from the large wool bale lorry to the suburban ice and wood lorry. It has been said they had their origins in the German farm wagon.ICE is painted in black capital letters on the side of the ice box. On the side of the lorry is painted - WOOD - COAL - COKE - C. MEE LA1271replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts -
Mont De Lancey
Decorative object - Small Wheel Lorry Model, Mr Chas W. Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a brown short two spoked wheeled wooden tray with low sides drawn by a cream coloured horse. The horse has reins and a simple noseband.There is a single seat and footrest at the front for the driver. The wooden shafts are to control the horse whilst working and they have a silver chain attached on each side. It has four replica brown wooden wine barrels with silver rims in the cart.replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts, lorries -
Mont De Lancey
Decorative object - Black Buggy Model, Mr Chas W. Davis, Unknown
The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a one horse drawn buggy replicates the vehicle that enjoyed respect from the public from 1833 until 1935. It came in four types.A model of a black enclosed buggy and horse, with two doors and two tinted windows. It is a two wheeled two passenger horse drawn carriage where the driver sits behind on the high seat with silver armrests. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has two black spoked wheels with silver rims, brown seating, silver handles on the doors and two black coach lamps at the back. There is a silver step on the side of the body near the footrest to aid alighting and disembarking.There are two long shafts on each side to surround the horse. It has a model of a brown coloured horse with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses -
Mont De Lancey
Decorative object - Hansom Cabriolet Model, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a two horse drawn enclosed Hansom Cabriolet replicates the vehicle that enjoyed respect from the public from c.1833 until 1935. A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two white horses. It has two large and two smaller gold painted spoked wheels with black rims and gold mudguards on the rear wheels, two gold painted coach lamps, red vinyl padded seating and four open windows with rolled up blinds. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake pad is on the rear wheels. The first Hansom Cabs were clumsy, dangerous awkward vehicles. The drivers were suspected of 'Rude Bohemia'. It took the refinement of Joseph Aloysius Hansom himself to clear airs and remodel the cab to a safe vehicle. It enjoyed respect from c.1833 until 1935. It came in four types.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches -
Mont De Lancey
Decorative object - Military Carriages, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. These models are of single horse drawn military gun carriages and accessories.Three gun carriages: 1. A brown four wheeled wooden model of a gun carriage for military use with a white horse. The carriage wheels have black rims with grey painted spokes. There is a brown storage box at the front for the driver with a brown vinyl padded seat.Three wooden slats form the footrest. A gun cleaning rod and lighter rod are attached to the back of the narrow support tray towards the back wheels. The saddled horse is linked to the carriage by a wooden shaft. A gun carriage is a frame and mount that supports the gun barrel of an artillery piece allowing it to be maneuvered and fired. These platforms often had wheels so that the artillery pieces could be moved more easily. 2. A brown large two wheeled gun carriage with no horse. The wheels have grey painted spokes and black rims. There is a cleaning rod and a lighting rod attached to the carriage shaft near the wheels. An additional accessory is included of a black vinyl saddle with lambswool lining as well as clips for attaching to the horse tack. 3. A grey two large wheeled gun carriage with no horse. The wheels have grey painted spokes and black rims. There is a cleaning rod and a lighting rod attached to the carriage shaft near the wheels. There is a chain to attach the carriage to the horse tack.56 VIR (3rd VIR)military vehicles, military models, gun carriages, military equipment -
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Whitehorse Historical Society Inc.
Article, Painting soldiers isn't child's play, says artist, 1990
... phillip model soldiers Graphic artist, Phillip Walden ...Graphic artist, Phillip Walden, of Nunawading, has been making detailed models of historical war figures from different battles and has won several major awards.Graphic artist, Phillip Walden, of Nunawading, has been making detailed models of historical war figures from different battles and has won several major awards.Graphic artist, Phillip Walden, of Nunawading, has been making detailed models of historical war figures from different battles and has won several major awards.crafts, walden, phillip, model soldiers -
Federation University Art Collection
Ceramic, Malcolm Boyd, Untitled [Male Form] by Malcolm Boyd, 1977
MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni -
Federation University Art Collection
Ceramic, Malcolm Boyd, Stoneware sculptured sphere, 1977
MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Jan Feder Memorial Collection Presented by the artist in 1977. malcolm boyd, ceramics, stoneware, artists, artwork, jan feder memorial ceramics collection, alumni, woodfire -
Mission to Seafarers Victoria
Poster, Ying-Lan Dann, Circular Temporalities, July 2022
Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events -
Wodonga & District Historical Society Inc
Decorative object - Small green glass vase, 1907
The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Alice Yardy nee Dinsmore, grandmother of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small green glass vase with gilt edge which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold lettering. "Alice Women's Exhibition 1907"vase, glassware, decorative items -
Wodonga & District Historical Society Inc
Decorative object - Ruby Glass and crystal jug, 1907
The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Mary Burrowes, aunt of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small ruby glass and crystal jug which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold coloured paint. "Mary Women's Exhibition 1907"vase, glassware, decorative items -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Owl, chainsaw sculpture by Leigh Conkie, 21 July 2013
Leigh Conkie is a well known Eltham artist who creates a wide variety of subjects in wood modelled by chainsaw at his home in Main Road. Location unknownfay bridge collection, chainsaw sculpture, leigh conkie, 2013-07-21, sculpture -
Eltham District Historical Society Inc
Photograph, Alan Marshall with his Sunliner caravan at Research, Vic, c.1962
Author Alan Marshall lived at Eltham from 1955 to about 1981. Alan owned land at Research and often lived there in his caravan while he was writing. A story about this land is told by John Morrison in "The Writer and the Swagman", which appears in his book "Australian by Choice." Local people also remember Alan living in his caravan beside an old house occupied by his friend, artist Neil Douglas, which was situated on the site of the present-day Eltham College oval and owned by the Pelling family at that time. It is understood that the land owned by Alan Marshall was nearby in Cassells Road. Vivienne Turner of Eltham recalled that her family had a photo of Alan and his caravan at Research and a copy was provided to EDHS in 2003. The caravan was a Sunliner model. See EDHS Newsletter No 151 July 2003Black and white photograph, injet print on paper alan marshall, caravan, research (vic.), eltham college, neil douglas, pelling family, turner family, sunliner caravan, ek holden special station sedan, cars, 1962 -
Surrey Hills Historical Society Collection
Photograph, Rudi Mineur at Surrey Hills Day, 1981
Rudi Mineur was born in Holland and grew up in Tasmania. He came to live in Surrey Hills with his wife Betsie and their 3 sons in 1974. Rudi worked as a taxidermist. With a keen interest in natural science, he is also a talented watercolourist and model-maker. His work included model-making for the Melbourne Museum and creating special effects for films including 'Mad Max'. He is also renowned for his sculpting of netsuke. He illustrated the book 'Growing up in the Goldrush' by Michael Dugan (pubd. 1989), who also lived locally. A colour photo in portrait format taken on Surrey Hills Day. He has greying hair and beard and seated behind a table on which are an assortment of stuffed animals / birds, shells, bones and a microscope.Nilrudi mineur, taxidermy, artist, netsuke, surrey hills day -
Glen Eira Historical Society
Article - MONASH, JOHN, SIR
This file contains three items concerning Sir John Monash. 1/A two-page letter distributed at a rare book week event on the 22/07/2014 to the Glen Eira Historical Society from Michael Headberry. The letter requests support for the John Monash Sculptural Commission by the Monash Pioneers, who are seeking to erect a bronze full figure portrait of Sir John Monash, Monash University’s namesake. Monash is connected to the city of Glen Eira, as Monash University has a campus in Caulfield and there are a number of streets named after him. The letter discusses the life of Monash and his many achievements. Details in another two pages are also given of the statue to be erected and there are two photos of a wax model of the proposed statue; plus a donation form. 2/An article by Dana McCauley dated 17/05/2015 entitled ‘Push to rename Ports’ about Caulfield lawyer and Liberal Kate Ashmor. The article discusses how she wants the electorate of Melbourne Ports to be named after Sir John Monash due to him being one of the most prominent Victorian Jews. There is a photo of Ashmor in fron of a statue of Monash. Newspaper not known. 3/An article from the Leader on the 30/06/2015 entitled ‘Exhibit’s unique view on Jews in WW1’. The author is unknown. The article discusses an exhibition at the Jewish Museum of Australia about the social history behind the Jewish support of the war effort. One item included in the exhibition is Isaac Cohen’s painting of Lieutenant General Sir John Monash and there is a photograph, by Andrew Henshaw, of this work above the article.monash university, monash john sir, caulfield, sir john monash, sculptural commission, clubs and associations, monash pioneers, correspondence, fundraising, universities, statues, armed forces, engineers, languages, art, pianos, diaries and journals, jewish community, world war 1914-1918, businesspeople, corlett peter, artists, sculptors, headberry michael, monash pioneers, project board, portraits, models, bridges, returned sailors and soldiers imperial league, ex-service organisations, st. kilda, leader, jewish museum of australia, rechter deborah, cohen isaac, ‘lieutenant general sir john monash’, portraits, national gallery of victoria, henshaw andrew, ‘true jews and patriots: australian jews and world war one’, shows and exhibitions, social history, ‘exhibit’s unique view of jews in wwi’, caulfield, ‘push to rename ports’, mccauley dana, political candidates, australian liberal party, ashmor kate, electoral boundaries, local government -
Glen Eira Historical Society
Article - Dorothy Avenue, 20, Glen Huntly
This file contains four items about this property: 1/6 pages on history of 20 Dorothy Avenue, 4 pages are photocopied photographs of home exterior and interior. 2/Printout from Museum Victoria website showing model of D C Gallager House Glenhuntly, designed by A V Jennings’ first architect Edgar Gurney. 3/Photocopied article from unknown source about proposals to add another story to their house in 1977/1978. 4/Photocopy of Certificate of Title for 20 Dorothy Avenue, Glenhuntly.d. c. gallager house, glenhuntly, a v jennings, gurney edgar, architects, barnard e. f., dorothy avenue, macgowan avenue, house styles, brick, gallagher dudley chas, glenhuntly road, newsagents, dargie william alexander, artists, martin ernest james, mechanics, marek christine, marek joseph, dargie kathleen, dargie roger, dargie faye, charlestworth ted, quin damien, rooms, architectural features, architectural styles -
Mission to Seafarers Victoria
Programme - Catalogue, Open House Melbourne, Takie Hold of the Clouds, 2022
Catalogue for an artistic discovery Ttail during Open House 2022.Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events -
Flagstaff Hill Maritime Museum and Village
Decorative object - Minton Majolica model of a Grey Heron, 2001
Royal Doulton as part of the Minton Miniature series produced this heron model in 2001. A limited edition of 1,793 pieces were made, and this heron is number 89. The heron is a scaled down model of the original life-size piece first produced by Paul Comolera, c. 1892, as a walking stick and umbrella stand. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. The Warrnambool Art Gallery (WAG) has a life-sized Heron in its collection. A rare miniature heron demonstrates the artistry and skill required to produce Majolica ware during the 19th century and the present.A miniature grey heron standing by bulrushes and holding a struggling fish in its beak, its plumage naturalistically coloured, on a circular base glazed in tones of grey and green and applied with further leaves and water lilies.Inscribed at the base Minton founded 1793, made in Englandminton & co., majolica, miniature model, flagstaff hill maritime museum, stoke upon trent, paul comolera, staffordshire -
Flagstaff Hill Maritime Museum and Village
Decorative object - Minton Majolica model of a White Stork, 2001
Royal Doulton as part of the Minton Miniature series produced this stork model in 2001. A limited edition of 1,793 pieces were made, and this stork is number 118. The stork is a scaled down model of the original life-size piece first produced by John Henk, c. 1870, as a walking stick and umbrella stand. A rare miniature stork demonstrates the artistry and skill required to produce Majolica ware during the 19th century and the present.A miniature white stork standing on one leg atop a rocky mound, an eel clasped in its beak, a frog beneath its foot, the stand formed by tall bullrushes & water-lily pads.Inscribed at the base Minton founded 1793, artist mark: 6, made in Englandminton & co., majolica, miniature model, flagstaff hill maritime museum, stoke upon trent, john henk, staffordshire -
Flagstaff Hill Maritime Museum and Village
Decorative object - Peacock, Minton Majolica life-size model, Paul Comolera, artist, Designed: c. 1873; Made: c. 1875
... -size model Paul Comolera, artist Minton & Co ...This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire -
Federation University Historical Collection
Photograph, The Model Studios, Rutherford / Yung family/ Watson Families, 1) c1914; .2)1902; .3 c1890's; .4 c1952;
Family photographs from Edith Emma Watson's collection involving Watson, Smith, Yung and extended families. .1Army photo WW1 of Jack Rutherford 1914. Son of John and Edith Rutherford. .2 Edith Alice Rutherford's Memorial Card .3 Photo of Edith Alice Rutherford .4 Family photograph taken on the occasion of Clara Emma Yung,s 90th birthday in Murtoa. People in photograph: Back row L-R Peg Watson, Jack Watson, Harry Watson, Beryl Cox, Jeff Cox, Lance Yung. Front row :Alice Watson seated on the ground, Edith Watson nursing Alison Watson, Clara Emma Yung, Annie Bolte? nursing Helen Cox, ?, Grace Watson kneeling. Front row L-R: Alice Watson, Edie Watson nursing Alison Watson, Clara Yung, Clara's sister Annie Bolte ? nursing Helen Cox, Jeanette Watson, Grace Watson. Alf Watson was the photographer. .5 Edith (Alice) Watson - artist and dressmaker. Photo taken in the garden of the family home 47 Cromie Street Murtoa, Victoria.Two sepia photos, two black and white photos and one memorial card .1) Jack Rutherford 1914 .2) Black and gold Memorial Card for Edith Alice Rutherford .3) Alice Rutherford. Born 09/1876, died 20/10/1902 in childbirth, aged 26. Alice was the daughter of George Godlip Yung and Anna Christina Weller and a sister to eleven siblings. Her baby son "Little Joe" is buried with her in the Smythesdale Cemetery. .4) Clara Emma Yung 90th Birthday Family Group. .5) Edith Alice Watson.1)Front under photo - Handwritten -'Jack Rutherford 1914'; handwritten - 'Grandpa Watson's nephew'. Professional stamp - The Model Studios 328 Smith Street Collingwood. .3) Nadar Studio; Coat of Arms ; Photographer' Address .4) Verso: Handwritten - 'Grandma Yung's (Clara Emma's) 80th B'day; Alf took Photo; Chn. Alison (Watson) Jobe, Helen (Cox) Sampson .5) Edith 'Alice' Watson. garden. 47 Cromie St Murtoayung, rutherford, jack rutherford, watson, cox, alice watson, clara emma yung, alison watson, helen sampson, harry watson, john richard watson -
Melbourne Tram Museum
Newspaper, Docklands News, "Tribute to a Melbourne icon", Nov. 2013
Newspaper clipping from Issue 92 of November 2013, Docklands News, titled "Tribute to a Melbourne icon", on the launch of a public art sculpture on the corner of Flinders and Spencer St, by artist David Bell. features a photo of the work and David. See also the December 2013 issue of Bellcord. Work known as "Raising the Rattler pole", tram 1040, full scale model, about 3/4 of the length. See also Reg Item 5666 for another newspaper cutting.trams, tramways, melbourne, sculpture, art works, flinders st, spencer st, tram 1040