pastelbeach, coast, bathing box, margaret baskerville, bayside, port phillip bay, jetty, ship, bush

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

WADE, Ivan Mayor 1969-70, 1970-71 Ivan Wade grew up in Bendigo and Brunswick, one of eight children. After his marriage, he moved with his wife and young family to Kew in 1951. In 1959, he took a year’s sabbatical in 1959 to build a new family home for his wife and four children at 222 Cotham Road, Kew. He worked professionally in the Meat Industry, successfully building a small chain of retail butcher shops, and a meat exporting business. He worked for improvements in the Trade through involvement in the Meat and Allied Trades Federation, of which he was the first State, and then Federal President. He was to be awarded an OBE for his services to the Meat Industry in 1979. Having been a long-time member of Melbourne Lions Club, he helped start Chadstone Lions’ Club as an inaugural tenant of the Chadstone Shopping Centre in 1979. He was also a tireless worker for charity, making his home available for functions raising funds for local groups. His passion for the community led him to stand for Kew Council as a representative of College Ward. As a councillor, he was elected mayor for two terms. During his term of office, new Kew Municipal Offices were constructed in Cotham Road. An active worker for the Kew Elder Citizens Association, he was involved in the establishment of an Opportunity Shop in Walpole Street to raise funds for the development of a new Centre in High Street. The Opportunity Shop was used to train locally unemployed youth skills such as furniture repair. (GW)Silver presentation trowel associated with the opening of significant civic projects in the former City of Kew.Commemorative, inscribed silver-plated presentation trowel given by the City of Kew to the Mayor, Cr Ivan Wade, on the occasion of the laying of the foundation stone of the new Kew Civic Centre on the corner of Cotham Road and Charles Street, now part of Trinity Grammar School. The silver trowel was presented in a black leather case lined with blue velvet. The trowel was to be used a second time in 1982 when Cr Wade and his wife laid the foundation stone of Hamer Court. The trowel was later donated to Kew Historical Society Inc by Gwlad Wade, the wife of Cr Ivan Wade, on 20 August 2000. Front: "Presented to Cr Wade J.P. / Mayor of / the City of Kew / at the laying of the / foundation stone / of the / Kew Civic Centre /20-8-1971." Reverse: This trowel was also used / by / Cr Ivan Wade OBE JP & Mrs Gwlad Wade / at the laying / of the foundation stone / of / "Hamer Court" / Hostel for the Aged / 22nd August 1982"cr ivan wade, hamer court, commemorative trowels, kew civic offices, city of kew 1860-1993

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Coloured matte postcard of Whitehorse statue. Palm tree in foreground, statue in middle ground and church (sic) in distance.whitehorse road -- box hill, postcards -- box hill, christian-washfold collection

This item was donated to the Bendigo Tramways Depot Archives by the author, Robert GreenThis is a history of the first electric tramway in Australia.The history of the first electric tramway in Australia, and the southern hemisphere, examining the conflicts and challenges faced by all those involved.

1983, 220, director ian brown, heidelberg theatre company inc

Soft cover book, white & grey cover with photos of ironbark flowers & forest 137 pages

14 pages, illustrated

This index comprises nearly 43,000 entries and provides the following information: surname, given names, street name and number, assessment book number and ward name. The period covered is just after the Second World War.city of box hill, taxation, real estate, melbourne, box hill historical society

Colour photographround the bend co-op, environmental living zone elz

This slide is part of a collection of visual resources used by Stuart Ascough while conducting training and technical advice at mills in China, India, Russia and Australia. This item is part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.35mm colour transparency mounted in plastic slide mount showing a factory interior with machinery and balls of wool.wool, industry, australia, australian wool board international wool secretariat, factory, training, topmaking, gill box

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching of a yellow couch with cushions.Edition 1/2art, artwork, georgina smith, furniture, couch, printmaking, etching, available, horsham campus art collection, alumni, horsham available

Heather HUTCHINSON Heather Hutchinson was a Post Graduate student in Ceramics at Gippsland Campus. Ceramic salt fired ceramic form.ceramics, gippsland campus, jan feder memorial ceramics collection, alumni, heather hutchinson

Image digitised from 35mm slide

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga.This item comes from a collection used by a prominent citizen of Wodonga. It is also representative of a domestic item common in the 1930s.A brass chamber candle holder above a section to hold a standard sizebox of matches.beer steins, domestic items

Historical information Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s.As part of the Sarah Coventry collection, the necklace has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.A small bom imprinted with the Sarah Coventry name and company detailsOn top in white: SARAH COVENTRY AND AFFINITY® / INTERNATIONAL FASHION JEWELLERY On one side: DISTRIBUTED BY SARGEM PTY. LTD./HUME HWY WODONGAsarah coventry, sarah coventry affinity, sarah coventry wodonga, sargem wodonga