Recovered from Rabbit Island, Wilsons PromAnchors x2 Admiralty designanchors, admiralty design

Australia’s first modern sea kayak expedition: “The journey they said couldn’t be done” Members: Earle de Blonville & John Brewster First kayak expedition to circumnavigate Tasmania’s 1,600 km coastline Route: The 1798-99 route of Bass and Flinders in the ‘Norfolk’ Start and finish Georgetown: anticlockwise via the west coast and Hobart. Media covers the Tasmania expedition itself, plus the pre-Tasmania training voyages in Scotland and the Hebrides, plus resulting articles.Kayak used in 1979 circumnavigation of Tasmania by Earl Bloomfield, accompanied by journal of expedition and photographs Sea Kayak, Nordkapp designsea kayak, circumnavigation of tasmania, earl de bonville, earl bloomfield

Silicon Mould of a decorative design. Nonematcham skipper, mould, jewellery, decorative design

Photocopy of pencil design on paperpetersen bequest, garden drinking fountain, sturt street ballarat

graphic design workshop of Leann Edwards Bronwyn Bancroft and Valetta Fenton. Also a black and white photograph of Leann Edwards at an exhibition at Anchorage Coffee Lounge Myers Street Lakes EntranceBlack and white photograph at graphic design workshop of Leann Edwards Bronwyn Bancroft and Valetta Fenton. Also a black and white photograph of Leann Edwards at an exhibition at Anchorage Coffee Lounge Myers Street Lakes Entranceaboriginals, arts and crafts

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

Skincare cosmetics used for ageing skin have been a priority for over 3000 years, in ancient times masks were used to cleanse and maintain the moisture of the skin. The Egyptians used anti-wrinkle creams made with the essential oil of frankincense which claimed to possess anti-inflammatory properties. Thick creams use on the face were created to preserve moisture on mature skin. And were formulated from resin, wax, oil, grass, and plant juice, In the 1700s, face toners and scented water were popular. Cold cream made with scented oils, spermaceti, and wax mixed with rose water and ambergris was a common toilette preparation. But it was the 20th century when face cosmetics entered their golden era and mass production made cosmetics available to women of all classes. An item used to store face cream from the 1920s when face creams and other cosmetics started to become available to all classes of women and no longer were these types of preparations only available to women of financial means.Clear glass jar with "hobnail" pattern and brass lid used to hold face cream cosmetics.Lid decorated with a relief design of 5 cherub heads and cloudsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass jar, cosmetics jar, toilet article

Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time appears to be an early example of British ironstone earthenware that could possibly be a Staffordshire piece but cannot be associated with an historical event, person or manufacturer, provenance is therefore unknown, as a result the subject item assessed as a collection asset given it was produced before 1950.Cheese dome round white ironstone, with flat base and a bell lid with ornate handle white Decorative relief floral design date letter "A" impressed in baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, ceramic dish, dish, kitchen ware, covered dish, ironstone cheese dome

Mug celebrating the Silver Jubilee of Queen Elizabeth 2, 1952-1977. White china with red framing round pictures of HRH Prince Philip and HM the Queen with picture of a crown between them.On base: "Exclusive Design for Joseph Terry & Sons Ltd of York".souvenir, china mug, silver jubilee queen elizabeth 2

Metallic cylinder that is wide at the bottom and narrow at the top. Has various sized holes cut/drilled into it to allow food to be grated. Hollow in the centre to contain grated food.Willow', 'registered design' and 'made in Australia' all featured on cylinder.cooking, kitchen

Music in the Open Air was an initiative of Frank Wright, the Musical Director of the Greater London Council Parks Department. Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. He was the youngest of eleven children. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was appointed in 1934 as the Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and Conducting and was a Fellow of the Guildhall School of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. Frank was awarded an M.B.E. in 1967 and he died in November 1970. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Two tone rectangular paper pamphlet of 4 double sided pages, with photo of an orchestra in a sound dome in top right hand corner. Held at Kenwood Lakeside for the Greater London Council Parks Department 11017.1 - Music in the open air: New Philharmonia Orchestra. Conducted by Norman del Mar, 11017.2 & .4 - London Symphony Orchestra. Conducted by Edo de Waart and Frank Wright 11017.3 - Royal Liverpool Philharmonic Orchestra. Conducted by Charles Groves. 11017.5 - Royal Liverpool Philharmonic Orchestra. Conducted by Charles Groves 11017.6 - Royal Philharmonic Orchestra - Conducted by Stanley Pope 11017.7 - New Philharmonic Orchestra - Conducted by Norman Del MarDesigned by GLC Supplies Department and printed by Staples Printers Limitedfrank wright, music in the open air, kenwood lakeside

Victoria once had well over one hundred fire lookouts and firetowers. Fire lookouts, or observation posts, were often just a clearing on a hill or a vantage point, whereas firetowers were definite structures. Many were established by the Forests Commission Victoria (FCV) in the 1920s, but the network was expanded rapidly in response to recommendations of the Stretton Royal Commission after the 1939 Black Friday bushfires. When a fire or smoke was spotted from the tower a bearing was taken with the alidade and radioed or telephoned into the district office. It was then cross referenced with bearings from other towers on a large wall map to give a "fix" on the fire location Alidades and telescopes were used in the post war period but were replaced with a much simpler map table and reference string suspended from the centre of the tower cabin.Uncommon usageAlidade Sight TubeFCV and bearing markers on the alloy base. Very simple design. bushfire, forests commission victoria (fcv)

Manual - 12 A4 pages, full colour centre stapled, titled "ZF Ball and nut type power steering gear". Undated. Illustrated manual or brochure. Not known whether this equipment was used in Melbourne.On inside front cover in ink "450 - 50000 ? life designed."trams, tramways, buses, maintenance, manual

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

This is a baby’s feeding bottle. No information has been found on ‘The Challenge’ brand. It is an interesting design. This bottle has no known local provenance but is retained as an interesting example of an early 20th century item. It will be useful for display. This is a clear glass bottle designed to lie on its side. One side of the bottle has been flattened to give it a boat shape. The neck and top are slightly raised when the bottle is lying on its side. The top is ridged and there is no stopper. There is embossed lettering on one side of the glass. ‘The Challenge Feeding Bottle’ infant welfare, history of warrnambool, challenger baby's bottle

Hardcover W/ Dust Jacket"Robin Boyd" inside front cover and letter to the editor of The Age from Thomas C Lothian Publishers requesting a review "For review about 750 words please".design, walsh st library

Drawing of styling proposal for HJ Monaro coupeSigned lower right, 'ZMOOD'automotive, design

Architecture as Idea was curated by recent RMIT graduates Dale Jones-Evans, Randall Marsh and Roger Wood who had founded Built Moderne in 1983. The exhibition challenged the way architectural exhibitions could be. Rather than exhibiting representations of architecture (drawings, models, photographs) the curators invited their 26 exhibitors (25 men and 1 woman, Jennifer Hocking) to build an object expressive of their idea of architecture. Exhibition posterarchitecture, design

Ill, p.232.non-fictionThe following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form. art, design

Colour photograph of three students working on chain saws at Forestec, Lakes Entrance Victoriaeducation, design

Designer playing cards, where the four process print colours Cyan, Magenta, Yellow and Black (or Key) – CMYK – replace the standard suits of Clubs, Spades, Hearts and Diamonds. Student names listed on cards: Paul Beseler, Paul Scanlon, Melanie Buckingham, Kerrie Still, Dean Tonkin, Hjoerdis Boulter, Wesley Towers, Daniel Ryan, Heath McCurdy, Kelly Tame, Jodie Grixti, Kate Sumner, Taneale Hrymakowski, Rebecca Carden, Megan Williams, Glenn Reynolds, Leon Dwyer, Paul Mah, Sally-ann McMahon, Mariya Beale, Andrew Cordiner, Reverse designed by Kelly Tame, packaging designed by Wes Towers. The jokers, designed by Dean Tonkin, include credits and sponsor details. Promotional pack created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 1999. Two-piece acetate pack containing standard deck of playing cards, each featuring student work. university of ballarat, federation university, graphic design, multimedia, mt helen campus, paul beseler, paul scanlon, melanie buckingham, kerrie still, dean tonkin, hjoerdis boulter, wesley towers, daniel ryan, heath mccurdy, kelly tame, jodie grixti, kate sumner, taneale hrymakowski, rebecca carden, megan williams, glenn reynolds, leon dwyer, paul mah, sally-ann mcmahon, mariya beale, andrew cordiner

Stitching on back seems to indicate pieces taken off a garment.Two pieces of black Guipure lace - large round flower design at top, spiralling down to thin leaf design.costume accessories, female

Open wood container designed to hold letters, probably on a desk. The box has a design of swallows carrying letters on the frontLETTERShousehold item, letter rack

Three Ballarat churches boast stained glass windows by Amalie Feild - St Andrew's Kirk, Lydiard Street Uniting Church, and the Mount Pleasant Methodist Church boast stained glass windows were made to Amalie's design. Colour photograph of World War One memorial stained glass windows in the Lydiard Street Uniting Church. The windows were designed by Amalie Feild (later Colquhoun). The windows were made by Tarrant in 1920.stained glass, lydiard street uniting church, amalie feild, world war one memorial, amalie colquhoun, lydiard street wesleyan church

Promotional catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2000. Custom designed plastic pack containing 20 sheets of recycled printed and overprinted student works, plus a CD Rom. The contents are representative of multiple variations across packs. The clear polypropylene pack is printed in yellow and a clear varnish. The original (1997) works are offset printed in black and silver, the overprint (2000) works are in full, four process colour. CD Rom printed two colours (yellow and very dark teal) single sided. Refer item 29168.1 for screen captures from this CD Rom. Third year, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating class promotional pack. Students responded to the concept of "past, present and future". These new works (year 2000) were then overprinted onto unbound sheets of the 1997 graduating student project "Silver Screen" to create entirely different pieces to "challenge the conventional boundaries of the printed image" and elicit "environmental awareness". As such, each pack contained different combinations of original (silver and black) and overprint (full colour) designs. "Re-designed" (2000) overprinted works by Belinda Janetski, Ben Sanders, Angelina Teo, Selina Shillito, Justin Weyers, Andrew Strack, Debbie Ferris, Yuri Tanabe, Nandor Rakosi, Jason Grace, Wes Prendergast, Michael Fennelly, Brett van Lieshout, Derek Fong, Abby Vanstan, Vince Luc, Lynette Heenan, Van Sanders, Sam Harmer. Original (1997) "Silver Screen" works created by Ben Mangan, Russell Kerr, Luke Keys, Travis Prices, Karen Grinter, Rosie Busuttil, Peter Horvat, Felix Lee, Karl Chandler, Matt Bowman, Adam Laszczuk, Narelle Pietsch, Natasha Pietsch, Jenny Tyquin. Back cover lists sponsors. Custom designed plastic pack containing 20 sheets of recycled printed and overprinted student works, plus a CD Rom. The contents are representative of multiple variations across packs.university of ballarat, federation university, graphic design, multimedia, belinda janetski, ben sanders, angelina teo, selina shillito, justin weyers, andrew strack, debbie ferris, yuri tanabe, nandor rakosi, jason grace, wes prendergast, michael fennelly, brett van lieshout, derek fong, abby vanstan, vince luc, lynette heenan, van sanders, sam harmer