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Bendigo Historical Society Inc.Document - NORMAN PENROSE COLLECTION: CERTIFICATES & NOTES ON ART ERAS, 1927 to 1931
Document. Norman Penrose collection: 10 Department of Education Technical Schools Certificates (9 First Grade and 1 Second Grade.) with notes pertaining to art written on the back. Ballarat School of Mines No 10. 2 Department of Education Technical Schools Certificates. Ballarat School of Mines No 10.person, bendigo, norman william penrose, norman penrose collection, notes on eras, department of education technical schools certificates -
Victorian Interpretive Projects Inc.Cartoons, World War One Cartoons by Edwin Cannon
Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1 -
Bendigo Historical Society Inc.Document - LONG GULLY HISTORY GROUP COLLECTION: HISTORICAL GUIDE TO BENDIGO
Brochure with an invitation to visit Historical and Mining Museum in Mechanic's Institute, Eaglehawk. Drawing of poppet legs on the front with The Royal Historical Society of Victoria Bendigo Branch. Historical Guide to Bendigo including Self Tours of Bendigo's Famous Goldfields. Forward by John Hattam. Contributors are: H Biggs, Miss L J Parry, A Richardson, L C Bennetts and Edith Checcucci. Credits - The Bendigo Advertiser, Cambridge Press, Mines Department (Bendigo) and J R W Purves. Items include Bendigo Tramways Compiled by H Biggs, Early Bendigo Hotels Compiled by L C Bennetts, Eaglehawk Compiled by H Biggs, Noted Events Compiled by June Parry,The Bendigo Post Office Compiled by LC Bennetts, The Bendigo Goldfield .. Introduction to Field and Guide to Some Famous Mines Compiled by A Richardson. Photos include: Pall Mall Bendigo, Ravenswood Homestead, An Early Battery at Kangaroo Flat,Historic High Street Golden Square, The Lonely Grave, Battery Tram c1888, Steam Tram c1892, Electric Tram c1903, Teh New Chum Railway Golden Square, United Hustlers and Redan Mine Sandhurst Road, Central Deborah Violet Street, Deborah Mine Quarry Hill, Deborah Mine 1000 ft level, First Motion Winding Engine at Central Deborah, Victoria Hill Area, and Looking south from New Chum Hill in 1890's. Also 11010.254, 255, 268, 288a, 288b, and 289.bendigo, history, long gully history group, the long gully history group - historical guide to bendigo, the royal historical society of victoria bendigo branch, historical and mining museum, mechanic's institute eaglehawk, librarian mechanic's institute, miss j parry, john hattam, h biggs, a richardson, l c bennetts, edith checcucci, bendigo advertiser, cambridge press, mines department (bendigo), j r w purves, mr a o'keefe, shire of marong, the sandhurst and eaglehawk tramway company, mr j taylor, mr j hanson, the bendigo tramway company, electric supply company, coliban water suply, juvenile industrial exhibition, geo lansell, cr a harkness, salvation army, vine and fruitgrowers association, decentralisation league, constable thomas ryan, miners association, art gallery, post office, miss broadfoot, bendigo hospital, opera company, bendigo development league, victorian women's franchise league, ana hall, the bendigonian, law courts, temperance hall, trades hall (old wardens court), roman catholic cathedral, shamrock hotel, bendigo philosophical society, old bendigonian society, bendigo fire brigade, bendigo volunteers to south african war, hawkins, porcupine inn, criterion hotel, royal hotel, bendigo hotel, black swan hotel, gillies bakery, hibernian hotel, sandhurst hotel, freemasons hotel, courthouse hotel, shamrock hotel, governor hotham, heffernan & crowley, new chum railway, victoria quartz, shenandoah, shamrock mine, hercules no 1 (originally pearl east), hercules new chum (late pearl), carlisle mine, mr arblaster, meurer, sandhurst bee, benevolent asylum, bendigo gas company, a lloyd, coliban water supply scheme, cr w v simons, eaglehawk council, j mouat, sir henry barkly, agricultural and horticultural exhibition, sandhurst and eaglehawk boroughs, cr john mcintyre, latham and watson's mine, galatea (model ship), st paul's church of england, rev g p despard, fine arts exhibition and exposition, bendigo rifle association, strathfieldsaye shire hall, corporate high school, bendigonian society, richard andrews, easter fair, g aspinall, j burnsides, sir h manners sutton, beehive stores, mining exchanges, bendigo water works, city family hotel, bendigo united friendly society medical institute and dispensary, benevolent asylum, jewish synagogue, masonic hall, school of mines, mr j h abbott, australian natives association, royal princess theatre, albion hall, central state school, high school, gravel hill state school, electricity commission, james mouat, warring natives, the rocks, joseph crook, gold discovery, marong district roads board, camp hotel, mr charles sherratt, city of bendigo, mt alexander north run, grice and heape, ravenswood, gibson and fenton, mrs john kennedy, mrs patrick farrel, mr j a paton, mr lachlan mclachlan, theatre royal, sir charles and lady hotham, harney's bridge, e j ennor, sandhurst fire brigade, the health of towns act, mr townsend, cornish & co, bendigo pottery, bendigo agricultural society, pike or pyke, baby health centre, sandhurst post office, government survey office, sandhurst trustees company, mr h b briston, savings bank, telegraph office, sir henry brougham lock, hon sir john nimmo, sandhurst public offices, the new prince of wales mine, new prince of wales no 2, the whip and jersey, lansell's big 180, new chum and victoria mine and battery, new chum railway, koch's pioneer, south new moon, catherine reef united, new moon, virginia mine, south belle vue, new chum railway, central nell gwynne, north nell gwynne, ironbark mine, new chum syncline, hercules, herculesl energetic, roberts & sons, harkness & co, horwoods, great southern, ulster, carlisle, cornish, new st mungo, duchess tribute, south devonshire, hopewell mine, saxby mine, mcnair & co, mr king, bourke and wills, sandhurst hotel, the dascombe nugget, victoria nugget, r r haverfield, ballerstedt, rae, wittscheibe, lazarus, cave and amos, bendigo amalgamated goldfields, bendigo mines limited, the deborah, north deborah, central deborah, the new red white and blue consolidated (big blue), union, lansell's new red white and blue 9later no 3 shaft), h harkness & co, thompson & co, central deborah, lansell's bendigo battery, north red white and blue, central red white and blue, roberts and sons, little 180 (originally lansell's 180 no 2 shaft), john brown knitwear factory, south ironbark originally victoria consols east shaft, ironbark (originally ironbark east shaft), manchester arms hotel, wattle gully mine chewton, hercules, old wheal-owl, central nell gwynne, gold mines hotel, bendigo city council, jack barker, the new chum syncline, the courier of the mines, telegraph office, bendigo cemetery, white hills cemetery, eaglehawk cemetery, kangaroo flat cemetery, new moon, suffolk united, north new moon, fortuna hustlers, buckell & jeffrey's, royal hustlers reserve no 2 (city and park shafts), jonathan harris, latham and watson, great hustlers, great extended hustlers, j hustler, latham, watson, tribute or pups shaft, bendigo's worst mining disaster, hustlers reef (old hustlers), hustlers reef no 1, lansell's comet, the old comet (cooper's claim), united hustlers and redan, comet hill state school, k k shaft, north or new hustlers (agnew hustler), johnson's no 3, south johnson's, lansell's sandhurst needle, cleopatra needle top, british american, collman and tacchi, south virginia, saddle reefs and spurs, pall mall bendigo, ravenswood homestead, an early battery at kangaroo flat, historic high street golden square, the lonely grave, battery tram c1888, steam tram c1892, electric tram c1903, teh new chum railway golden square, united hustlers and redan mine sandhurst road, central deborah violet street, deborah mine quarry hill, deborah mine 1000 ft level, first motion winding engine at central deborah, victoria hill area, looking south from new chum hill in 1890's -
Robin Boyd FoundationSlide, Robin Boyd, 1950
Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Stafa Department Store, Vienna, AustriaVienna Shop (Handwritten) / Department Store / 1950 (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide -
Duldig Studio museum + sculpture gardenFabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl. Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna. -
Westbourne Grammar Heritage CollectionBook - Charles Steedman, 1867, Manual of Swimming, 1867
Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar -
Koorie Heritage Trust
Book, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 08. 1-2 1984, 1984
This volume of 'Australian History' is devoted to studies of the south-eastern corner of the Australian continent. The papers arose from a series of meetings convened with Professer R. W. Dixon in 1981. They involved scholars from the disciplines listed, all concerned with the south-east. A series of articles by leading writers on Aboriginal History.237 P.; ill,; figs.; tables; notes; reviews; 24 cm.This volume of 'Australian History' is devoted to studies of the south-eastern corner of the Australian continent. The papers arose from a series of meetings convened with Professer R. W. Dixon in 1981. They involved scholars from the disciplines listed, all concerned with the south-east. A series of articles by leading writers on Aboriginal History.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | settlement and contacts - colonisation - 1788-1850 | race relations - violent - massacres, murders, poisonings etc. - to 1900 | sex relations | indigenous knowledge - world view | language - personal names | language - semantics | social identity | language - sociolinguistics | government policy - state and territory - new south wales | socioeconomic conditions - living conditions | language - linguistics - language classification | language - vocabulary - word lists | language - linguistics | geography - territories and boundaries | art - rock art - painting | art - production - materials / techniques | art - art motifs | -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 03. 1-2 1979, 1979
A series of articles on Aboriginal History by well-known historians.166p.; footnotes; bib.; ports.; facsimiles; 25 cm.A series of articles on Aboriginal History by well-known historians.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | aboriginal australians -- missions -- new south wales | religions - christianity - missions | religions - christianity - missionaries | music - vocal | literature and stories - story telling and story tellers | language - texts and translations - aboriginal to non-aboriginal language | art - rock art - painting | photography - ethnographic | ceremonies | literature and stories - story telling and story tellers | world war, 1939-1945 -- participation, aboriginal australian. | aboriginal australian soldiers. | aboriginal australians -- northern territory -- arnhem land. | defence - world war ii | religions - christianity - lutheran church | religions - christianity - missions | settlement and contacts - colonisation - 1851- | settlement and contacts - colonisation - 1851- | government policy - initial period and protectionism - 1851-1900 | government policy - state and territory - queensland | animals - invertebrates - crustacea and molluscs - beche-de-mer / trepang | -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 05. 1-2 1981, 1981
Articles on various aspects of Australian History articles.178 p.; ill.; tables; footnotes; bibs.; maps; 25 cm.Articles on various aspects of Australian History articles.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | settlement and contacts - chinese | language - change | mining industry - gold | settlement and contacts - afghans | animals - mammals - camels | race relations - racism - stereotyping | language - texts and translations - aboriginal to non-aboriginal language | art - drawing | art - artists | settlement and contacts - macassans and indonesians | language - kriol | language - linguistics - language classification | language - semantics | settlement and contacts - explorers | -
Whitehorse Historical Society Inc.
Document - Documents, Group reports, 2000
Annual reports presented to the Nunawading Arts Council Annual meeting by affiliated bodies. Includes an obituary for Ossie Maxwell Max Grant, theatre director who lived in Mitcham from the early 1950s until his death 22 Sept 2000.nunawading arts council, grant, max, nunawading art and craft market, australian childrens choir, babirra music theatre, box hill art group, blackburn high school. friends of music, choral institute melbourne, chime choir, eastern victorian highland dancing association, maroondah symphony orchestra, mitcham arts association, maroondah singers, mullauna secondary college music department, mitcham repertory group, nunawading and district historical society, nova theatre, u3a nunawading, vermont horticultural society and garden club, utassy parents association, vermont secondary college. music support group, whitehorse film society -
Whitehorse Historical Society Inc.Document - Pamphlet, Department of Veteran Affairs, Caring for Your Wartime Memorabilia, 2001
A guide to preserving wartime memorabiliaCaring for your wartime memorabilia.non-fictionA guide to preserving wartime memorabiliapreservation, war, memorabilia -
Ballarat Tramway MuseumMagazine, K. V. Newmann and MMTB Public Relations Officer, "MMTB News", 1965
Eight issues of "MMTB News" - The Magazine of the Melbourne and Metropolitan Tramways Board. Two copies of each issue. Second copy added 31/8/2004. All issues printed with an off-white gloss paper cover with the rest of the magazine white glass paper. 2719.1 - Vol. 2, No. 1 - 16 pages, January 1965, with a photo of the Board meeting in the Board room of the MMTB, notes or articles on traffic congestion, a short history of public street transport in Melbourne, TMSV tour of 7/2/1965 with PCC 980, and" Some Views on Public Transport". 2719.2 - Vol. 2, No. 2 - 16 pages, February 1965, with a photo of Dusseldorf 3 section tramcar on the front cover, notes on the costs of concessions, press visit to the Carlton Power control supervisory centre, "Melbourne - 1985", Mark VI buses, tool safety, "Staggered Working Hours", hydro-foil on Sydney Harbour, "Traffic Congestion". 2719.3 - Vol. 2, No. 3 - 12 pages, March - April 1965, with a photo of W7 1012 and bus 751 on the front cover, notes or articles on "New Trams for Melbourne", retirement of D.H. Eakin, "Traffic Congestion", "Tramway buses at the Gippsland Fires", The Australian Good Neighbour movement. 2719.4 - Vol. 2, No. 4 - 16 pages, May - June 1965, with a photo of L 101 at West Maribyrnong terminus during an Association of Railway Enthusiasts tour (photo Robert Wilson), notes or articles; "A Motorist Speaks Up for Trams", "Tramways Hospital a Major Benefit", parking in the central city, tramway ambulance, "Radio Control is Human Nerve Centre", staff shortages, retirement of Mr. Stan Bowen, the ARE Tram Tour, and Port Melbourne Tramways Social Angling Club. 2719.5 - Vol. 2, No. 5 - 16 pages, July 1965, with a photo of the Doncaster Bus depot on the front cover, articles or notes; Freeways, Public Transport, Decimal conversion, Doncaster Bus depot, Melbourne in twenty years, Engineering Department - Bus branch, visit of Mr Ken Hall and Frank Kirby overseas to study new trams. 2719.6 - Vol. 2, No. 6 - 20 pages, August September 1965 with a photo of W6 921 being lowered at Preston Depot, with notes or articles; an abridged version of an address by R. J. Risson to the Constitutional Club in Melbourne, lost items on trams, Bus Engineering, and social or sporting club news. 2719.7 - Vol. 2, No. 7 - 16 pages, October - November 1965 with a photo of PCC 980 on the front cover, notes or articles on; free travel for USA City shoppers, safety, Stores Department printing section, Ballarat's Tramways Diamond Jubilee - TMSV tour to Ballarat on 15/8/1965 including two photos, PCC 980, Christmas functions, retirement of Arthur Wisdom and Bill Wallis. (Reference photos Reg. Item - 1877). See btm2819i9 for image of the article re the TMSV Tour to Ballarat. 2719.8 - Vol. 2, No. 8 - 16 pages, December 1965 with a photo of cable car set No. 1 on the front cover with notes or articles; Children's art show, "Quest for New Tram", "The Development of Melbourne's Trams" and sporting or social club news. Has a Christmas message from Chairman, Mr. Risson with photograph.Each issue has stamped on the front cover or inside "The Australian Railway Historical Society (S.A. Branch).trams, tramways, mmtb, carlton control, buses, pcc 980, ballarat, new trams, are, tmsv -
Bayside Gallery - Bayside City Council Art & Heritage CollectionMap, Department of Crown Lands and Survey et al, Moorabbin, County of Bourke, Government Roads, 1920
The cadastral map of the Parish of Moorabbin in Victoria (L.6104) shows parish boundaries and land ownership 1920 when Sandringham was a Town. The government roads have been coloured in red pencil.moorabbin, county of bourke, map, plan, land subdivision, land titles, foreshores, hampton, beaumaris, highett, cheltenham, department of lands and survey, land owners, cartographic material, brighton, sandringham, town of sandringham, government roads -
Bayside Gallery - Bayside City Council Art & Heritage CollectionMap, Department of Lands and Survey, Land under the control of the City of Sandringham, 1962
The cadastral map showing land under the control of the City of Brighton in 1962.map, plan, foreshores, sndringham, hampton, beaumaris, cheltenham, department of lands and survey, cartographic material, moorabbin, black rock, street map, city of sandringham, board of lands and works -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Melbourne Project: Brighton and Elwood, 1976
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton and Elwood and was taken on 1 December 1976brighton, elwood, department of crown lands and survey, aerial photograph, elsternwick park, point ormond, north road, ormond esplanade, st kilda street, glen huntly road, bayside, port phillip bay, map, cartographic material, melbourne project 1976 -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Melbourne Project: Brighton, Hampton, Sandringham, 1976
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton, Hampton and Sandringham and was taken on 1 December 1976brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, hampton, sandringham, green point, sandringham yacht club, south road, beach road, hampton street, melbourne project 1976 -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Melbourne Project: Brighton, 1976
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton and was taken on 1 December 1976brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, melbourne project 1976, brighton yacht club, middle brighton baths, north road, st kilda street, new street -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Melbourne Project: Brighton and Hampton, 1976
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton and Hampton and was taken on 1 December 1976. brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, melbourne project 1976, brighton yacht club, middle brighton baths, hampton, green point, brighton beach, south road, the esplanade, hampton street -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Brighton, Elwood and Elsternwick, c. 1965-71
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton, Elwood and Elsternwick and was taken circa 1965-71.brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, elwood, elsternwick, elsternwick park, elwood tram depot, elwood pier, new street, glen huntly road, st kilda street, nepean highway -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Brighton, Brighton East and Bentleigh, c. 1965-71
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton, Brighton East and Bentleigh and was taken circa 1965-71.brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, bentleigh, brighton east, dendy park, dendy street, centre road, nepean highway, south road, football -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPhotograph, Department of Crown Lands and Survey, Victoria, Brighton, Brighton East and Bentleigh, c. 1965-71
The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton and Brighton East and was taken circa 1965-71.brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, brighton east, dendy park, dendy street, centre road, nepean highway, south road, brighton golf course, golf -
Bayside Gallery - Bayside City Council Art & Heritage CollectionMap, Department of Crown Lands and Survey, Moorabbin, County of Bourke, c. 1918
The cadastral map of the Parish of Moorabbin in Victoria (L.6104) shows parish boundaries and land ownership c. 1918 when Sandringham was a Borough.moorabbin, county of bourke, map, plan, land subdivision, land titles, foreshores, sndringham, hampton, beaumaris, highett, cheltenham, department of lands and survey, land owners, cartographic material, borough of sandringham, brighton -
Bayside Gallery - Bayside City Council Art & Heritage CollectionMap, Department of Crown Lands and Survey, Melbourne and Suburbs, City of Sandringham, 1917-1926
map, plan, foreshores, sndringham, hampton, beaumaris, cheltenham, department of lands and survey, cartographic material, borough of sandringham, moorabbin, black rock, street map, city of sandringham -
Ballarat Tramway MuseumBook, Keith Kings, "The Ballarat Tramways", Sep. 1971
Yields information about the history of the Ballarat Tramways from horse to the closure of the electric trams in 1971. Gives a good understanding of the development and operation of the tramways. Has a strong association with the author.Book, 64 pages, gloss art paper, in black ink with a light brown card cover in green ink, centre stapled, titled "The Ballarat Tramways" Details history of Ballarat tramways, its tramcars and the involvement of the various operators. Has maps and photographs. Written by Keith Kings and published by the Victorian Division of the Australian Railway Historical Society at the time of the closure of the Ballarat system. Inside front cover is a typed sheet of amendments for the book - typed on Charles Martin Watermarked paper. Has details of the various organisations that published the book on the rear cover. 114.2 - as for 114.1 - but with many hand written notes etc. 114.3 - as for 114.1 - but with "City of Ballarat" stamped on front cover. 114.4 - as for 114.1 - but with "To Mr. L. J. Denmead, Departmental Tramways Supt. from K. Kings 12/9/1971" handwritten on front cover. For entire book see pdf images i1 to i3.114.2 - notes on pages 7, 10, 17, 18, 21, 22, 23, 25, 26, 29, 36, 49 and 63 - has in blue or black ink, many notes, corrections and additions. 114.3 - "City of Ballaarat" stamped in red on top right hand corner. 114.4 - "To Mr. L. J. Denmead, Departmental Tramways Supt. from K. Kings 12/9/1971" handwritten on front cover in blue ink and on title page (page 1) in red ink "Mr. L. J. Denmead / Dear Les, / Best Wishes for the future! / Bob Prentice" and on same page, in blue stamp "L.J. Denmead".trams, tramways, ballarat tramways, history, tramcars of ballarat -
Ararat Gallery TAMATextile, Frances Burke, Goanna, c. early 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Mosaic, c. 1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Tiger Stripe, c. 1939
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Crete, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Plum Blossom, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Jungle, 1945
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.
