Showing 1267 items
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Federation University Art Collection
Katherine Douglas, 'The Sheer Scale'by Katherine Douglas, 2022
katherine douglas, landscape -
Montmorency/Eltham RSL Sub Branch
Functional object - Railway Spikes (Burma Railway), 28 April 2022
Retrieved from original location by Kevin Myers during official military preparations for a Hellfire Pass memorial in recognition of the allied POW lives lost during construction of the Burma-Thailand railway during WW2.Direct connection between local (Montmorency and Victorian) soldiers in WW2 and the work undertaken by allied prisoners of the Japanese Army.Steel spikes used in construction of the Burma-Thailand railway during WW2.Noneprisoner of war, burma, ww2, railway -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Campfire Gathering, Meeting Place Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Kunawarrar Ngaramili (Black Swan Dancer) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Banksia Tree Cloak (water and fire business), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Spirit Watching over me (Rita Dalton) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Bundjil the Eagle Creator Spirit Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Murnong Daisy Cloak (Women Gathering Food) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Waa the Crow Totem Cloak (Waa represents our ancestors watching over us), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Traditional Diamond Design, Pick and Gold Cloak (protection and survival of our men and women), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Purple Orchid Cloak (Indigenous orchid season), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
Ballarat Heritage Services
Photograph, Clare Gervasoni, 513 Dana Street, Ballarat Central, 06/12/2022
An example of a Spanish Mission house in Ballarat.dana street ballarat, ballarat, architecture, spanish mission -
National Wool Museum
Clothing - 35 Life, Canwen Zhao, 2022
Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize -
Port Melbourne Historical & Preservation Society
Photograph - 150th Anniversary of Seamens' Union, Janet Bolitho, 21 Sep 2022
Celebrating 150 years since the Seamen's Union was founded outside the Former New Great Britain Hotel, Stokes Street, Port Melbourne.Two digital images of the 150th Anniversary of the Seamens' Union. seamen's union of australia, built environment - commercial, new great britain hotel -
Port Melbourne Historical & Preservation Society
Photograph - St Joseph's Church, Port Melbourne, David Thompson, Dec 2022
Digital image of St Joseph's Church, Port Melbourne.religion - roman catholic church (st josephs) -
Whitehorse Historical Society Inc.
Textile - Lace Piece, 2022
Lace made by Vicki Jones EvansBlue lace piece, 7 circles, Teneriffe lace and bobbin.lace -
Warrnambool and District Historical Society Inc.
Book, Tony Grace, The War Diary of Flt Sgt John Grace 1943-1944, 2022
War Diary of John Maurice Grace supplemented with family photographs and newspaper cuttings relating to his pre and post war life116 page A4 size book with green covers and white text on the front cover and spinenon-fictionWar Diary of John Maurice Grace supplemented with family photographs and newspaper cuttings relating to his pre and post war life john maurice grace, war diary, world war two, raaf pathfinder 462 bomber squadron -
Ballarat Heritage Services
Film - Video, Clare Gervasoni, Lal Lal Waterfall, 15/10/2022
Lal Lal Waterfall is situated in the Lal Lal Reserve. It has an impressive drop into a rocky gorge. Culturally, the Falls are believed to be the earthly home of Bunjil, the All Father or Creator to most Victorian Aboriginal tribes. The name Lal Lal is thought to be Aboriginal for "dashing of waters". The Lal Lal Falls is listed on the Site Registry of Aboriginal Affairs Victoria as a spiritual place.Video of the Lal Lal Waterfall after heavy rain.lal lal, lal lal waterfall -
Mission to Seafarers Victoria
Postcard, Two Temple Place, c. 2022
Representing the Santa Maria, one of Christopher Columbus' caravel, the beaten copper weather vane made by metalworker J. Starkie Gardner and located on the roof of the Two Temple Place (known for many years as Astor House), was damaged in 1944, restored and re-erected in 1950.After the theft of its weathervane in March 2022, the Mission is aiming at replacing it. Sepai tone postcard reproduction of a photograph of a man erected the windvane in 1950windvane, weathervane, christopher columbus, santa maria, caravel, two temple place, london, astor house, william waldorf, bulldog trust, 1950, j. starkie gardner -
Mission to Seafarers Victoria
Postcard, Two Temple Place, c. 2022
Representing the Santa Maria, one of Christopher Columbus' caravel, the beaten copper weather vane made by metalworker J. Starkie Gardner and located on the roof of the Two Temple Place (known for many years as Astor House), was damaged in 1944, restored and re-erected in 1950. After the theft of its weathervane in March 2022, the Mission is aiming at replacing it. Sepai tone postcard reproduction of a photograph of a man erected the windvane in 1950windvane, weathervane, christopher columbus, santa maria, caravel, two temple place, london, astor house, william waldorf, bulldog trust, 1950, j. starkie gardner -
Mission to Seafarers Victoria
Administrative record - Annual Report, Mission to Seafarers Victoria, Annual Report 2021, 2022
annual report, 2021 -
Marysville & District Historical Society
Document (Item) - Research document, Craig Robson's Fairground Follies, 1904 Romani Vardo Showman's/Gypsy Wagon, 05-09-2022
A research document on the 1904 Romani Vardo wagon from The Marysville Museum in Marysville in Victoria.A research document on the 1904 Romani Vardo wagon from The Marysville Museum in Marysville in Victoria. Fred Sawyer was originally from London, but then later relocated to Sydney, Australia, and then to Marysville in Victoria where he established The Marysville Museum. The Romani Vardo wagon was housed in The Marysville Museum alongside a collection of horse-drawn vehicles, veteran, vintage, and classic vehicles, various machinery, and memorabilia.the marysville museum, marysville, victoria, burton type wagon, henry jones & son, gypsy, hawkers, gypsies, william spooner, artist, st george, dragon, peter ingram, gypsy museum, selbourne, england, colin king, fred sawyer -
Stawell Historical Society Inc
Slide, Ian McCann, Lake Bellfield under constion from the road, 2022
Lake Bellfield under constructionColour Slide: View form the road after an Explosion, with a Police car in the foreground -
Stawell Historical Society Inc
Slide, Ian McCann, Lake Bellfield, 2022
Lake Bellfield During ConstuctionColour Slide: showing lake Bellfield during construction. -
Port Melbourne Historical & Preservation Society
Photograph - Westgate Park, Nov 2022
Digital image of PMH&PS members visiting Westgate Park, Port Melbourne.built environment - recreational facilities, westgate park -
Horsham Regional Art Gallery
Photograph, Gail HARRADINE et al, Wotjobaluk Sky lit up for us in Welcome, 2021 (printed 2022)
Purchased through the Horsham Art Gallery Trust Fund, 2022inkjet photograph on plywood -
Ballarat Heritage Services
Photograph - grandstand, Clare Gervasoni, Kingston Grandstand, 06/06/2022
Weatherboard grandstand at Kingston, Victoria.kingston, kingston grandstand -
Horsham Regional Art Gallery
Photograph, Gail HARRADINE et al, Being part of Country and Country being part of us, 2021 (printed 2022)
Purchased through the Horsham Art Gallery Trust Fund, 2022inkjet photograph on plywood -
Horsham Regional Art Gallery
Sculpture, Troy EMERY, big softie hopping mouse, 2022
Purchased through the Horsham Art Gallery Trust Fund, 2022polyester, epoxy, aluminium, adhesive -
Moorabbin Air Museum
Book - STRONG TO SERVE, JOSEPH MACK, 2022