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Federation University Historical Collection
Poster, Ballarat Teachers' College: Breakfast with the Stars, Late 1960s
Green poster size cover paper with hand drawn portrait and lettering in texta."Breakfast with the Stars" Date: Wednesday 24th March at 8 am $1.50c Performing Arts Studio -
Port Melbourne Historical & Preservation Society
Plan - Improvments, Beach Street, Port Melbourne, Beach Street Improvements, 9 Nov 1915
Plan for Beach Street improvements 1915 - hand drawn in ink and hand coloured.Signed by Heath and Chairman RH Gill - Scale altered in red ink from 2ft to the inch to 4ft to the inch (at bottom centre)built environment - civic, arthur victor heath, town clerks, richard henry gill, mayors -
Clunes Museum
Book, MARGARET ANDERSON, MUSEUMS AUSTRALIA JOURNAL, 1993
MUSEUMS AUSTRALIA JOURNAL VOLS 2-3, 1991-1992PAPERBACK BOOK WITH IMAGES OF PEOPLE DRAWN IN PASTEL ON THE FRONT COVER 247 PAGESnon-fictionMUSEUMS AUSTRALIA JOURNAL VOLS 2-3, 1991-1992 local history, document, book, history, museum australia -
Yarrawonga and Mulwala Pioneer Museum
Name Plates x 2, J Mussen, Monegetta, 1800's
Name plate in brass used to identify horse drawn gig attached to the shafts -
Whitehorse Historical Society Inc.
Document, Municipal Reserve, n.d
Hand drawn map of blocks and municipal reserve off Anjaya Court, Blackburn.parks and reserves, anjaya court, blackburn -
Whitehorse Historical Society Inc.
Map, Map of City of Nunawading, n.d
Hand drawn map of City of Nunawading showing heights above sea level.city of nunawading, maps -
Whitehorse Historical Society Inc.
Photograph, Taking fruit to market
Horse drawn cart loaded with fruit boxes. Two horses and one driver.horses, horse drawn vehicles, fruit industry -
Rutherglen Historical Society
Image, 1889
First owner of Fairfield House was George Francis Morris. This sketch is believed to be the concept sketch from the architects.Early coloured sketch of Fairfield House with a horse drawn carriage in front of the house.At bottom right of sketch: "Gordon & Gordon, Architects" fairfield cellars, fairfield house, wine industry, morris family -
Ambulance Victoria Museum
Photograph, Ambulance, Horse Drawn, Circa 1900
St John ambulance probably outside the Eastern Hill Melbourne Metropolitan Fire Brigade headquarters. Noted on copy as the first ambulance in Victoria 1899.Black and white photograph of horse drawn St John Ambulance in front of buildingTHE ST JOHN AMBULANCE ASSOCIATIONst john ambulance, eastern hill melbourne metropolitan fire brigade headquarters -
University of Melbourne, Burnley Campus Archives
Plan, C.E. Richardson, Plan for Science Laboratory and Glasshouse Block, 1964
1 copy tracing paper, 2 copies paper. Drawn by C.E. Richardson.c.e. richardson, laboratory, glasshouse -
University of Melbourne, Burnley Campus Archives
Sketch, Perennial Border
Design by Geoff Olive for annual display of perennial border c. 2002 - not fully implementedgeoff olive, andrew smith, burnley gardens, perennial border -
University of Melbourne, Burnley Campus Archives
Plan, Landscape Construction Facility/Field Station Entry Development Proposal, 1997-1998
The same plan, coloured, drawn by Phil Tulk with different dates: 27.11.1997 and 18.05.1998.phil tulk, field station, landscape construction facility -
University of Melbourne, Burnley Campus Archives
Plan - Planting Design, Cul-de-sac Planting Design, Nov 2020
john rayner, garden plan, plant list -
National Vietnam Veterans Museum (NVVM)
Photograph, Sketch of Battle Map, Ngok Tavak, Mary 1968
Captain John E D White, Australian Army Training Team in Vietnam (AATTV) took over command of 11 Mobile Strike Force (Mike Force) Company in Da Nang, Vietnam, in February 1968. He was 26 years old. The 2 NVA Division was moving from Laos into South Vietnam and his mission was to establish contact with the division and trace its movements south. In mid-March the company was air lifted to the Special Forces camp of Kham Duc, near the Laotian border. They used an old French Foreign Legion fort as a temporary base from which patrols could be sent out. White called it Ngok Tavak after a nearby mountain. Initially, patrols failed to find the enemy, but in late April a patrol clashed with the enemy. At the same time, White received intelligence that the NVA division was closing in. At night they could hear explosions in the distance heading toward them. White decided their best chance was to leave the fort and take to the jungle to adopt guerrilla tactics. However, in the meantime a platoon of United States Marine Corps artillery arrived bringing with them two howitzers and a stockpile of ammunition. To abandon the fort was to abandon the guns. White contacted Da Nang, explaining the predicament, and was ordered to remain where he was. A Civilian Irregular Defense Group (CIDG) platoon was sent to reinforce his numbers. This was a para military force comprised mainly of indigenous highlanders, trained by United States Special Forces. They also brought with them two mortars and their crews. At 3.15am on 10 May 1968 some members of the CIDG chose to assist the NVA to attack the fort instead of supporting Mike Force, and close hand to hand fighting followed, along with grenade attacks and heavy machine gun fire. Air support offered a brief respite from the NVA attack, and some NVA forces were pushed back outside the perimeter by counter attacks, but at 9am White contacted Da Nang to advise that his position was untenable. A second attack was imminent and they could not withstand it, so they would have to withdraw. The wounded were evacuated by helicopter (under orders from Major Mai, the NVA had not attacked the previous medical helicopters that collected the wounded under the cover of air strikes) and at 1pm the rest of the force evacuated east, into the jungle. The NVA did not notice their withdrawal, and continued mortar attacks on the fort for another ninety minutes. Seven kilometres from the fort White called for a helicopter withdrawal of his forces. The force was successfully lifted to Kham Duc and then Da Nang. (Credit AWM)Annotated hand-drawn map of the fort at Ngok Tavak, 10 May 1968.battle of ngok tavak, john white, battle map -
Wangaratta RSL Sub Branch
Work on paper - Envelope Art
Sent to Mrs MacDonald "Monald" 32 Grey Street Wangaratta by soldier during second world war.Victoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with hand drawn scroll with stick figure either side Top left - AIR MAIL Top right - postage stamp Left side - AIF Censor stamp Right side Mrs M MacDonald "Monald" 32 Grey Street Wangaratta Victoria Australiaww2, envelope art -
Wangaratta RSL Sub Branch
Print - Framed Graphite Print, Darren McAliese, 13/05/2005
To commemorating 40 years since The Dawn Of a New Era for the Royal Australian Navy - 1965-2005 - A limited release of a graphite print of Guided Missile Destroyers HMA Ships PERTH (38), HOBART (39) and BRISBANE (41) served the Royal Australian Navy (RAN) from 1965 and 2001.These ships were the first for the RAN to have been designed for the 'Missile Era' and were also the first to be not of a British design instead they were purchased from the United States of America. All 3 served with distinction on the 'Gun Line' during the Vietnam War and the BRISBANE also saw operations of the First Gulf War.Framed print drawn in graphite depicting three Guided Missile Destroyers at sea RAN - Commemorating 40 years since The Dawn Of a New Era for the Royal Australian Navy - 1965-2005 Limited Edition 3/50 Signed Darren McAliece 13 Nov 2005ran, hmas perth, hobart and brisbane, guided missile destroyers -
Clunes Museum
Plan - PLANS, YUNCKEN, FREEMAN & FREEMAN, CLUNES PUBLIC HOSPITAL ALTERNATIONS & ADDITIONS, 1935
SHEET OF PAPER, HAND DRAWN PLANS IN BLACK INK, INCLUDES ELEVATION VIEWSWRITTEN IN PENCIL ON REVERSE "PLANS RECONSTRUCTION CLUNES HOSPITAL (COPY) 1935clunes public hospital, yuncken, freeman -
University of Melbourne, Burnley Campus Archives
Plan, Burnley Theme Gardens, 1988-1989
Plans for Victorian College of Agriculture and Horticulture, Burnley Campus, Second Year Associate Diploma Students. All Scale 1:50. Tracing paper, paper and laminated copies. (1) Scented Garden, designed by G. Fryer, drawn by S. Mullany. October 1988. (2) Native Garden, designed by L. Garn(e)tt, drawn by S. Mullany, October 1988. (3) Contemporary Garden, designed by Sara Esposito, drawn by Clive Sorrell, May 1989. (4) Grass Garden, designed by E. Youssef, drawn by S. Mullany, October 1988. (5) Victorian Garden, designed by W. Bergin, drawn by S. Mullany, October 1988.vcah, burnley campus -
Flagstaff Hill Maritime Museum and Village
Domestic object - Match Safe, after 1830's
This match safe was amongst various items collected from a sea dive in Port Phillip Bay. The diver was the caretaker of the Port Lonsdale Lighthouse, who dived on various wrecks in the bay during the 1960's. After the caretaker's death, his son sold off many of the shipwreck artefacts. The match safe was purchased from the caretaker's son in the 1990's by a previous owner of the Marine Shop, Queenscliff, Victoria. Pocket match safes or match safes were small portable boxes, or containers made in a great variety of forms and shapes, each with lids or covers to contain matches and retain their quality. Matches came into use around the 1830's and were produced extensively between the years 1890 and 1920. During this period everyone carried strike anywhere matches, so they could ignite stoves, lanterns and other devices. Early matches were unreliable and prone to ignite from rubbing on one another or spontaneously. Accordingly, most people carried a match safe to house their matches. Wealthy people had ‘match safes made of gold or silver, while common folk had ones made of tin or brass. They were made throughout the world including the United Kingdom, in the U.S.A., continental Europe and Australia. Significant English makers of cases were, Sampson Mordan and Asprey & Co. Significant American manufacturers of match safes include Wm. B. Kerr, Gorham, Unger Brothers, Battin, Blackington , Whiting, George Scheibler and Shreve & Co. Different patterns and types run into thousands as well as plain and decorative examples. They were also made in a wide range of materials, including pressed brass, pressed tin, gunmetal, nickel silver, gold, bone, ivory, the wood of varying types, early plastics like tortoiseshell and Bakelite, and ceramics. A distinguishing characteristic of match safes is that they have a ribbed surface, usually on the bottom, for lighting the matches. The item gives a snapshot into the social development through it's application in every day use match safes were used at a time when there were no safety matches and the early use of matches was a dangerous affair given they were easily combustive if rubbed together in a pocket for example. The item is also an example of the shipwreck artefacts gathered along the southwest coast of Victoria.Match Safe; hollow brass cylinder with ribbed match striker texture on base and screw thread around top. Fitted brass lid has an internal screw thread, and the top's flat surface has concentric circles design, with a twisted rope pattern grip around the edge. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwreck artefact, port phillip bay, port lonsdale lighthouse, wreck, 1960’s diver, queenscliff marine shop, match container, match safe, matches, fire lighter, fire safety, heat, fire, portable match safe, 19th century -
Wangaratta Art Gallery
Textile, Kate Just, SAFE Banner, 2014
HOPE & SAFE presents the material results of Kate Just’s two recent public banner projects in the UK and Melbourne responding to violence against women and current media coverage of this issue. Referencing and reviving moments in feminist history in which collective action and craftwork were deployed to enact change, HOPE & SAFE invokes a utopian reimagining of women’s safety and agency within the urban environment. In 2013, Just travelled around the UK with her KNIT HOPE Project. It involved an invitation to individuals and communities to publicly join her in knitting a night-reflective fluorescent yellow banner that spells the word HOPE in silver block letters. Later, various HOPE walks were taken in public at night with it. Bearing the artist’s daughter’s name, the resulting HOPE Banner manifests the artist’s wish for a brighter future for women broadly and for her own child specifically. Materially and conceptually, the banner entwines dualities of male and female, public and private, individual and collective. The uniquely patterned individual pieces refer to the work of many hands, joined together to form a seamless whole. The durability of the builder’s line and the high-vis reflective material, which is worn by construction workers, police and cyclists, imbues the banner with a level of visibility and authority. The singular large scale photograph HOPE Walk (Leeds) extends these complexities, documenting a moment in which police on horseback, donning coordinated yellow and silver jackets, asked if they could join the ‘protest.’ On return from the UK in early 2014, Just undertook the KNIT SAFE Project in Melbourne. It involved the communal crafting of a sister banner, a night reflective black and silver ‘blanket’ that spells SAFE. The more sombre SAFE Banner operates as a shield or soft monument constructed in the shadow of recent high profile violent deaths of women in Melbourne including Jill Meagher, Tracey Connelly and Fiona Warzywoda. The photograph SAFE Walk (Melbourne) captures a small group of banner holders quietly interacting with each other in the warm glow of a street lamp, projecting an almost fictional ideal of collective resistance to the harsh realities of the world. Also presented in the exhibition is the book HOPE SAFE, documenting the projects in their entirety and featuring an in-depth essay by art critic and historian Dr Juliette Peers. Photograph by Simon Strong. Wangaratta Art Gallery Collection. Winner of the Wangaratta Contemporary Textile Award 2015.A rectangular banner with a background made up of black yarn square panels that vary in shape and size with different knitted and crocheted designs, with lettering applicated onto the background using reflective nylon thread. A metal pole has been threaded through the top of the banner to enable it to be carried.wangaratta art gallery, wcta, textile, kate just -
Stawell Historical Society Inc
Book, Vivienne Worthington, Anastasia Woman of Eureka. A Tribute to Anastasia Withers - Previously Cat No 3607, 2004
Light orange at the top shading to dark orange at the bottom. Three Photos one of Anastasia Withers at the top below left the Eureka Flag , below to the right Swearub=ng Allegiance to the "Southern Cross" (1996.60) December 1st 1854 C.A. Doudiet (c.1832-1913).Anastasia Woman of Eureka A Tribute to Anastasia Withers The Threads of Time The History of Anastasia / Samuel Withers and their Family in Australia by Vivienne R, Worthington.stawell, family history -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, Publicity Branch, Department of Agriculture, Victoria, Students at Burnley Neg: 132 Section State Farms Burnley, Publicity Branch Department Of Agriculture, 1940-1941
Note by E.B. Littlejohn 11 December 1991, "Jessie M. Scott (Pixie) ploughing in orchard, winter 1941. 'Pixie' Scott scarifiying orchard, winter 1941."2 black and white photographs: (1) female student using horse drawn plough in the Orchard (2) 2 copies: female student using horse drawn scarifier in the Orchard. Pixie Scott is the student in both photographs(1): "Ploughing in Orchard," (2): "A student using a scarifier in the apple block, School of Horticulture Burnley June 1940."students, ploughing, orchard, female students, horse drawn plough, jessie m. scott, pixie scott, apple block, horse drawn scarifier, students working outside, scarifier, plough -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph - Beersheba Day AWM 1992, November 1992
The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948. It was linked with 4th/19th Prince of Wales’s Light Horse in 1991 forming the VMR Squadron of the regiment. Captain Kel Robertson commanded the guard. It was the first occasion at which the squadron wore slouch hats in lieu of berets.Good photograph of Army Reserve unit on parade on a significant day for Australian Light Horse.Framed coloured photograph of gaurd drawn from Victorian Mounted Rifles Squadron 4/19 Prince of Wales's Light Horse drawn up at the Beersheba Day parade at the Australian War Memorial 31 October 1992.On plaque at bottom centre of frame: "VMR Sqn Beersheba Pde 31 October 92. Presented to Maygar Club Albury by Cpl AH Collins Dec 92"vmr squadron, 4th/19th prince of wales's light horse, beersheba, parade, slouch hat -
University of Melbourne, Burnley Campus Archives
Plan - Photocopy, Wendy Varcoe, Killamont, 1907? 1980?
Larger plan is probably of original fencing and drains from C.B. Luffman's layout. Killamont is the only known surviving private garden designed by Luffman.(1907).Photocopies of 2 hand drawn maps/plans of the garden at "Killamont." Drawn by Wendy Varcoe. Garden designed by C. B. Luffmann. (Also see B10.0040 Conservation Analysis and other C.B. Luffmann files in Box 75 A .)gardens, killamont, wendy varcoe, charles bogue luffman -
Federation University Bookplate Collection
Work on paper - Bookplate, Ex Libris Elie Flanagan
After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Winner of the Australian Primary Student Design Award section of the Australian Bookplate Design competition 2020.Freehand drawn quartered shield within a rectangular border. The four segments of the shield are drawn with - clockwise from upper left, Boy doing handstand, earth & rocket, Girl on skateboard surmounting smiley sketch, dog in landscape.Ellie Flanagan lower right of sketched frame. -
Geoffrey Kaye Museum of Anaesthetic History
Work on paper - Illustration
An illustration hand drawn in black ink on paper showing intubation of the larynx on a reclining head and neck, which is drawn as a cross section showing the inside of the head and the airways. The Chevalier Jackson's laryngoscope is being introduced at the angle of the mouth.laryngoscope, larynx, chevalier jackson's laryngoscope -
Orbost & District Historical Society
ink bottle, first half 20th century
An ink bottle was made of glass or ceramic and typically sat on a desk. The writer would dip the pen (or quill) into the bottle to put more ink on the pen. Because they sat on a desk, ink bottles were often decorative. We have mostly dispensed with ink bottles and quills. This item is an example of early stationery equipment commonly used in schools, households and commercial enterprises.A squat clear glass ink bottle which is square-shaped. It has threaded top and is seamed on both sides.on base - AGM F823 M P50container bottle ink-bottle -
Orbost & District Historical Society
jar
A small round opaque white glass jar. It has a threaded top and a mould seam from the rim to the base.jar white-glass container -
Lara RSL Sub Branch
Picture, Ode Tapestry, MId 20th century
The Ode is a verse from a poem Ode Of Remembrance by Laurence Binyon. The Poem first appeared in the Times of London on 21 September 1914. This particular verse is used in ANZAC and Remembrance Day ServicesThe verse of the Poem has been used in ANZAC and Remembrance Day Services from their inception. The verse is pertinent to all service persons who have lose their life in conflict.Oblong, Black Frame, Matt Surround, Glass, Cross Stitch, various colors, cotton thread on aida fabric. Hand sewn the ODE, picture of military Bugler, dark military figures in the back ground. Words LEST WE FORGET, The Ode, seven lines of the ode poem. Framing by Frameline Picture Framing, tapestry work not known.ode, lest we forget, tapestry -
Bendigo Military Museum
Uniform - SLIDE SHOULDER BOARD
Part of the Reverend Chaplain Major thomas Bruce Williams, No 556101, Collection.Two jungle green coloured slide shoulder boards with captain's pips embroidered in light green and brown thread.army chaplain, rank insignia, uniform, major thomas b. williams