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Tennis Australia
Racquet, Circa 1916
An oval racquet with an elongated head, red whipping, glazed, parchment-reinforced shoulders, and a fine-grooved handle grip. Inscription across crown on obverse: SLAZENGERS'. Inscription across throat on obverse: DOHERTY/SLAZENGERS/PATENT/STRINGING. Inscription along right side of handle: SLAZENGERS' NEW YORK. Inscription along left side: PATENTED/OCT. 12. 1915. Hand carved initials along front of handle: M.O. Materials: Wood, Gut, Metal, Glue, Lacquer, String, Ink, Parchmenttennis -
Nillumbik Shire Council
Sculpture, Ghost, 2012
The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, Botanical, Pultenaea Scabra (Rough Bush-Pea), n.d
Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawings of a flowering plant stem with flower details. On left is a flowering stem, with a woody central stem, small heart-shaped leaves and yellow and orange pea flowers. To right are studies of leaves and flowers: (t-b) top view of flower (yellow); flower detail; side view of flower; top and underside views of leaves; side view of bud. Each view is labelled in pencil and in typed letters affixed to paper. Mounted in double matt (white on faun) in glazed wooden frame with gold detail.Front: Pultenaea scabra (lower left) (pencil) Back: 30 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema -
Kiewa Valley Historical Society
Plate Bread & Butter, Circa 1921
This item was used by the State Electricity Commission of Victoria in their mess rooms for their workers during the construction of the Kiewa Hydro Electricity Scheme. The imprint of the year "1921" was to identify the year that the SECV was formed and relieved the private VHEC (Victorian Hydro-Electric Company). As the scheme was of such a huge, isolated and time consuming nature the feeding of its workers was quite demanding of cutlery and crockery. The use of sturdy English cups and saucers was essential. The period of construction and the isolation of the Kiewa Valley area placed heavy demand for "solid" crockery that could wear abusive handling. This period in time was one when crockery, whether for domestic or commercial use, was imported from "mother" England. This scenario was more so for governmental bodies such as rail, jails and electricity providers than domestic users. The influx of cheaper Asian crockery had not yet begun.This type of crockery item was used by the thousands of SEC Victorian staff and construction workers involved in the building of the Kiewa Hydro Electricity Scheme, over the extensive period (1938 to 1961). This was a period when Government bodies and other semi- government organisations were still tide to the "establishments" of "mother" England. It was a period in Australia's development when the Asian influence was very weak and the established ties to England and Europe was still very strong. The majority of heavy equipment and machinery was either made in England or Europe. Local expertise in dam construction and water management in alpine terrain came from migrants for England and Europe. The quality of workmanship from big steel manufacturing plants in England and Europe could not be matched from anywhere else in the developed world.This item is a white ceramic plate (bread & butter). It is made in England and is of strong and durable ceramic. The bottom of the plate is flat with edges sloping out (to position the bread) and the extended rim is to catch any spillages. The 5mm thickness of the ceramic suggests this plate belongs to a commercial kitchen/eating establishment (mess) and not a domestic dining room. The indent bottom of the plate is 5mm deep with a side curvature ratio of 2:5. The ceramic is glazed to a commercial standard (see KVHS 0128 for its saucer part of a dinner set.The seal of the State Electricity Commission Of Victoria is imprinted on the top inside rim within a curved scroll. Snuggled within the borders of the scroll is a banner with the five stars of the southern cross and an arm with a closed fist projecting from the top with five lightning bolts projecting outwards. On the underside "Vitrified sold by Cafe & Hotel Supplies Pty Ltd Dunn Bennett & Co. Ltd. Burslem Made in England"saucer, plate, secv, state electricity commission of victoria, crockery -
Flagstaff Hill Maritime Museum and Village
Ceramic - Teapot, Josiah Wedgwood & Sons Ltd, 1890
Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries -
Flagstaff Hill Maritime Museum and Village
Bottle, circa 1899
This clay soft drink bottle was made by Bendigo Pottery circa 1899. It was badged for and sold by A. [Alfred] Darby of Henna Street Warrnambool, (between Raglan Pde and Lava St). The internal screw thread in the neck of this bottle allows for an applied ‘blob’ top stopper to be added. The company A. Darby bottled soda water, cordial, lemonade, ginger ale and ginger beer. Darby’s also made cider, lime juice, raspberry vinegar and other specialties. There was a branch of Darby’s cordial factory in Shepparton Victoria. The building has the year 1910 on it and is now the council office. The bottle’s manufacturer, Bendigo Pottery, was established in the 1858 during the gold rush era. The bottle is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community. They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. This glazed clay bottle represents early Warrnambool industry. It is also a good example of soft drink containers used in the late 19th and early 20th century and of Australian made products. Bendigo Pottery is Australia’s oldest working pottery. The kilns at Bendigo Pottery are now on the Victorian Heritage Register. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Earthenware soft drink bottle, part of the W.R. Angus Collection. Glazed clay, 'champ' shape, two-toned colour; caramel from mouth to shoulder, beige on lower section. Inside of neck has an internal thread that could have been sealed with an applied internal ‘blob’ top stopper. Black stamped Maltese cross design emblem on front with each quarter containing text, black oval stamp on back with maker’s details. Bottle was made by Bendigo Pottery of Victoria circa 1899 and sold by A Darby of Henna Street Warrnambool.Maltese cross design, each quarter has text "A. DARBY", "HENNA", 'STREET,", WARRNAMBOOL" Oval stamp” - - - - - -RE BENDIGO POTTERY [EPSO] M - - - - - O” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, nhill base hospital, mira hospital, flying doctor, department of defence australia, australian army, army uniform, bottle, earthernware soft drink bottle, earthernware bottle, a. darby, henna street warrnambool, soft drink industry warrnambool, bendigo pottery, 1899 soft drink bottle, champ shape soft drink bottle, ginger beer bottle, cordial bottle, blob top, blob stopper, internal stopper -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Bossiaea heterophylla (Variable Bossiaea), 1976
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Pencil study of a flowering plant, with details of flowers, leaves and seeds. Study on lower left is of a leaf and stem. Above this is a seed. To the right is a stem with leaves and seven red and orange flowers. On the top right is a study of a flower with yellow petals and red-orange centre. Below this is another flower detail with red-orange petals with yellow edges. Below this is a side view of a flower. Below these are seed studies, and a seed pod study, Mounted in a double matt (tan on olive) in glazed timber frame. Each view is numbered in pencil (partially erased).Front: CEWoolcock (signature, lower left of image) (purple pencil) Back: 76 (upper left) (pen) -
Flagstaff Hill Maritime Museum and Village
Container - Stoneware Demijohn, Bendigo Pottery , 1904-1930s
This Sharpe Bros. one gallon stoneware Demijohn is in excellent condition and includes its original stopper. It was made between 1904 and 1930, the date from the patent of the handle until the time that the factory no long produced returnable items. The bottle was once part of Dr W.R. Angus' household and is part of the W.R. Angus Collection and could have been purchased from Warrnambool's Sharpe Bros. factory. SHARPE BROS. 1903-1972- The first Sharpe Bros. cordial factory was opened in Dunedin, New Zealand, in 1903 by English prohibition brothers John and Percy Sharpe. Sharpe Bros. made ‘health’ beverages that were non-alcoholic drinks such as ginger beer, ginger ale, lime juice, soda and cordials. The containers of these drinks were not sold with the drinks but were marked as returnable items, to be cleaned and re-used, until this practice ceased in the 1930s. Sharpe Bros. made a niche in the soft drink market by delivering drinks by horse and cart to its customers’ homes. John Sharpe patented the unique wire spiral handle in 1904. By 1905 the New Zealand company also had factories in Australia. By 1910 the company had over 20 factories including Wanganui, New Zealand; Adelaide, Albury, Ballarat, Bathurst, Forbes, Geelong, Goulburn, Lithgow, Melbourne, Newcastle, Orange, Sydney, Tamworth, Warrnambool and Wollongong. The Warrnambool factory was established in 1919 and existed until 1951. The company won awards at Australian exhibitions for its carbonated drinks, including First Prize for its ginger beer made in the Brisbane factory. The company was taken over in 1962 by Tarax Drinks Holdings Ltd, which was in turn taken over by Cadbury Schweppes in 1972. W.R. Angus Collection- The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This stoneware Demijohn is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys. It is part of the W.R. Angus Collection, which is notable for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. It is also connected through its manufacturer Sharpe Bros. which had a branch in Warrnambool from 1919 to 1951, overlapping the time when the Angus family resided there from 1939 to the 1970s. The bottle is also significant as an example of the early-20th-century beverages found in local households and could have been purchased from the local Sharpe Bros. factory.This stoneware Demijohn is glazed, with a brown neck with internal thread and shoulders and a cylindrical cream base. The one gallon bottle has a flat, black stopper with a cork stem and a rubber, threaded tip. The ‘U’ shaped wire carry handle has a spiral of wire around the handpiece. An overhanging lip is on top of the bottle’s short neck above its rounded shoulder. The clay has been joined at the base of the neck, shoulder and body. The underneath is unglazed. The brown glazing on the shoulder has a run mark. Inscriptions are on the stopper and bottle. This container is part of the W.R. Angus Collection.Stamped in black on the shoulder: “KEEP THE / STOPPER TIGHT” Stamped in black on the body: “THIS JAR IS THE ABSOLUTE PROPERTY OF AND MUST BE RETURNED TO SHARPE BROS. AUSTRALIA / & NEW ZEALAND. ORIGINAL & LARGEST HYGIENIC BREWERY. CAUTION Persons Damaging, Willfully Retaining, Trading with or Misappropriating the Use of this Jar WILL BE PROSECUTED “ Stamped in script writing: “Sharpe Bros. TRADE - - - ED “ Embossed on the stopper: “AUSTRALIA AND NEW ZEALAND, SHARPE BROS.”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, sharpe bros., bendigo pottery, bottle, stoneware bottle, demihohn, one gallone bottle, soft drink, non-alcoholic drink, drink container, jar, jug, warrnambool soft drink, hygienic brewery, cordial factory, new zealand, australia, john sharpe, percy sharpe, non-alcoholic, spiral wire handle, ginger beer, w.r. angus collection, demijohn -
Tennis Australia
Print, 1980
Print: 'Blood Tennis'. Three part object: (1/3) framed artist's proof of serigraph entitled 'Blood Tennis' depicting a match between two players, with an umpire sitting at the net. (2/3) Certificate of authenticity from dealer; and (3/3) Certificate of Authenticity from publisher. Parts 2 and 3 are enclosed in envelope attached to frame backing. Glass manufacturer's sticker on backing, stating that frame is glazed with UV preservation glass. Number '176' handwritten on backing in black marker. Materials: Ink, Paper, Wood, Cardboard, Metal, Felttennis -
Brighton Historical Society
Clothing - Dress, Wedding dress, 1892
This dress was worn by Matilda Kinross McDonald, nee Herd (1871-1943) for her wedding to George William Mitchell McDonald in Geelong in 1892. Two-piece wedding dress comprising separate bodice (.1) and skirt (.2) made of figured coffee-coloured silk woven with large sprays of foliage and berries. The front of the bodice is decorated with a cream-coloured hand-made lace. The bodice is cut asymmetrically, with the front panel wrapping over to the left proper side seam. The fitted sleeves are cut with fullness in the head and narrowing at the elbow and wrist in a leg-of-mutton style. The bodice is backed with a dark brown glazed cotton and has 13 bones. The skirt is backed with a coffee-coloured cotton. wedding dress, geelong, matilda kinross herd, george william mitchell mcdonald, 1890s -
Melbourne Tram Museum
Administrative record - Framed Document, Noyes Bros, 1923
Framed invoice No. E.1675 dated 30/4/192? (assumed 1923), from Noyes Bros (Melbourne) Pty Ltd. to the MMTB for the supply and delivery of one(1) Brill double ended safety car with a Brill 79E truck, excepting wheels and axles. Provides details of price, and customs charges dated 9/1/1923. Has an accounting stamp with initials in blue pencil. Provides details of Noyes Bros contact details, order numbers and phone numbers. Framed in a wooden frame, glazed and card board back and hanging cord.trams, tramways, birney, mmtb, noyes bros, tramcar construction -
Melbourne Tram Museum
Functional object - Badge, Melbourne & Metropolitan Tramways Board (MMTB), c1970
.1 - Badge - Manufactured - brass? with stippled gold plate finish on the rear and sides with a green and gold glazed paint finish with the words "Tramways Board Traffic Officer" in gold on the front and the number "30" stamped into the badge. Has the word "Taiwan" on the rear. Does not have a clip or holding device on the rear. Use to be clarified - could have been a wallet badge. .2 - as above - No. 66 .3 - as above with two metal lugs soldered onto the rear - No. 159 .4 - as above - No. 97 See Reg Item 6011 for another example.trams, tramways, mmtb, badges, officers -
Melbourne Tram Museum
Functional object - Badge, Metropolitan Transit Authority (MTA), c1980
.1 - Badge - Manufactured - brass? with gold plate finish on the rear and sides with a green and gold glazed paint finish with the Metropolitan Transit Authority logo and the words "Traffic Officer" and "Metropolitan Transit" and two braised lugs and one clip for use in a uniform. Has number "4" stamped into the top of the badge. .2 - as above - No. 108 contained with in a cellophane packaging with two brass clips inside. .3 - as above No. 121 .4 - same style as above, but a larger version - No. 121 has a pocket clip on the rear - with the name "Lega Melbourne" stamped in.trams, tramways, the met, badges, officers, mta -
Melbourne Tram Museum
Print - Framed Print, "Cable Tram and Dummy - 1890 - 1900", 1900
Framed and glazed photograph of cable tram set, trailer 233, at the Victoria St Terminus, c1900. Has a factory and water tank in the background. Cable tram dummy is loaded with gentlemen and there is a paper boy in front of the trailer. Print mounted onto a wooden chip board and sealed with brown tape around the edges. Two screwed frame hanging supports on either side with one run of string between them. Frame - brown and gold with a buff and black line framed around the photograph. Print has the title "Cable Tram and Dummy - 1890 - 1900".On rear in ink at the top - "Donated to Hawthorn Tram Museum Feb. 19th 2012 Ron Scholten"trams, tramways, melbourne, victoria st, cable trams, tram 233 -
Federation University Historical Collection
Image - Colour, Ballarat School of Mines M.B. John Building, Albert Street, Ballarat, 1987
The M.B. John Trade–Art building (Albert Street front) of SMB was officially opened by the Hon. John Cain, Premier of Victoria, in the presence of Morgan B. John. Programs include 3 Dimensional Art, Painting & Decorating, and Engineering Trades. (SMB Institutional Plan 1989) The M.B. John Building (Building K), a three storey, face red brick, restrained Late Twentieth Century International styled building with an elongated, cuboid form (defined by the parapeted facades) that is offset by projecting exposed concrete framed, round‐arched entrance and stair wells on the east (Albert Street) elevation (the centrally located entrance breaking the brick façade with glazing). The facades are also characterised by banks of aluminium framed, horizontal ribbon windows, which wrap around the building corners. Metal shades project beyond the windows, while post‐supported bullnosed verandahs and hoods and projecting concrete stairs are other features. On the west elevation, the cuboid façade is punctuated by projecting curved concrete and glazed, elongated bays at first floor level. (David Rowe/Wendy Jacobs)Image of a multi-storey brick building on the Ballarat School of Mines campus. The building is known as the M.B. John Building.ballarat school of mines, m.b. john building, morgan b. john, albert street, m.b. john -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Kurt Webb, [Whimsical Vessel] by Kurt Webb, 1988
Kurt WEBB United States of America Lives Chicago Webb draws his driving force in life and artistic vision from consequential discoveries he makes, while deliberately preferring less ordinary paths to his destinations. Inspirational methodologies in art history including the Dance of Death, Four Horsemen of the Apocalypse, Ship of Fools and Woodcut Novels are cornerstones of his artwork. In 1988, during a visit to Australia, while viewing a small porcelain woodfired bowl and teapot by Australian artist Gwyn Hanssen Pigott, Kurt Webb decided to abandon his desire to make functional pottery. He realized that Piggott’s clay work was beyond comparison or emulation and was impossibly inimitable. In 2015, inspired by using impeccably made, functional commercial tea ware, Webb decided to give pottery making a second chance. As a result, Webb’s new functional work acknowledges traditional influences while he pursues individuality through eclectic subject matter, meticulous construction, and decoratively glazed surfaces–all produced within a contemporary context. A tall vessel with a house and figures at the top.kurt webb, jan feder memorial ceramics collection, ceramics, gippsland campus, sculpture -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Burtonia scabra (Painted Lady), n.d
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Studies of stem and details of a plant. On left is a study of a stem with short, narrow leaves (in clusters of 2 or 3) and pink flowers, with large pale pink petals and a darker centre. On the right are detailed studies with typed letters affixed to the paper surface. "b1" is a front view of a flower. "b2" is a side view of a flower. "c" is a leaf and stalk detail. "d" is a seed detail. "b3" is a back of flower view. On far right are erased letters in pencil, and one also on the left next to a typed "a". Mounted in a double matt (pale grey on mauve) in glazed timber frame with gold paint.Front: Burtonia scabra (lower right) (pencil) CEW (signature, lower left of image) (mauve pencil) Back: (no inscriptions)cema, botanical, collin woolcock -
Villa Alba Museum
Photograph - Second Bedroom Fireplace, Villa Alba, c.1882
The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the fireplace in the second bedroom of Villa Alba. The original 1880s white marble mantel, obliquely positioned in the northwest corner of the room (one of two examples in the house) is the most ornate mantel in the first floor bedrooms. The central visual element in the mantel is an upturned conch shell surrounded by stylised foliage and flowers. The two upright carved supports of the mantel are sinuously carved in all almost rococo manner. The mantel is inset with monochrome surround tiles and ornate polychrome glazed tiles in a manner reminiscent of Ottoman Iznik tile work. All of the tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- second bedroom -
Ballarat Tramway Museum
Functional Object - Ash Tray, Wiltshaw and Robinson, mid to late 1900's
Demonstrates domestic items manufactured soon after the establishment of the tramway systems in Ballarat.Ash Tray - white glazed on front, unglazed rear with gold edge trim, light weight China in the shape of a "spade" with an image of the intersection of Sturt St and Lydiard St from the Post Office looking at the buildings on the south side of Sturt St including the Town Hall with two electric trams and the tram lines in the view. One of the trams is hauling a trailer. Possibly made mid to late 1900's. On rear has the makers stamp of "W&R Stoke on Trent" http://nicholnack.com.au/wiltshaw-robinson-patterns/index.php - accessed details that it is the mark of Wiltshaw and Robinson.tramways, trams, ash tray, sturt st, lydiard st, town hall -
University of Melbourne, Burnley Campus Archives
Plan, John S. Jenkins, Plan showing proposed adjustment of boundaries of the Horticultural Society's Gardens in Richmond Park, c.1880-1884
Plan on linen fibre cloth. Shows layout of Burnley bound by Swan St., Yarra River and part of Richmond Park, coloured areas showing proposed area to be added to Park, the old road, shrubbery, new hall, old garden, recent extension and proposed further extension (crossed out in red ink). Scale 4 chains:1 inch. Probably drawn by John S. Jenkins, Town Surveyor, Richmond. Has been photographed so that additional copies can be made. On a CD plus 3 negatives. (Also copy glazed and framed for Centenary Exhibition.)john s. jenkins, gardens, richmond, hoticultural society of victoria -
Bendigo Historical Society Inc.
Photograph - FAMILY PORTRAIT, approx. 1910
BHS Collectionblack and white photo: family. One mature female in dark gown with brooch and necklace, one mature male in suit, white shirt, tie and tie pin. One male child suited, short trrousers. Six young males suited and buttonholed, one with watch chain. Two young females, long dark curls, pinafore gown, brooch visible at throat of R. hand gown. Weatherboard house at rear, ivy at left hand border. Step and verandah visible behind group with an upholstered chair, personal belongings nearby and below four pane glazed window.2000 - 180-01 on back of photoperson, group -
Federation University Art Collection
Artwork - Ceramics, Ceramic Forms by Elsa Adern
Elsa ADERN (1918-2006) Born New Zealand Arrived Melbourne 1942 Elsa Ardern was living at Warrandyte in 1954 when she started studying pottery under John Bernard Knight at the Melbourne Technical College. In 1961 she was a founding member of Potters' Cottage at Warrandyte with friends Sylvia Halpern and Kate Janeba. She worked from a studio under the family home, exhibiting at the cottage and also through the Victorian Ceramic Group when it was set up in 1969. In 1980 she established a workshop at Tathra on the far south coast of NSW, sharing her time between Tathra and Warrandyte for the next 25 years. Amongst the work made at Tathra were some very large pieces which she fired in the Stafford Brothers' wood-fired brick-kiln at Kalaru. Part of the clay for these came from the Staffords' clay-pits. Elsa Adern is known for her strong form of her pots, enhanced by her characteristically subtle wood-ash glazes. Her works are signed with an incised 'Elsa Ardern' or 'EA'. (http://www.australianpotteryatbemboka.com.au/shop/index.php?manufacturers_id=32)available, elsa adern, available ceramics, ceramics -
Federation University Historical Collection
Photograph - Photograph - Black and White, Proposed Ballarat School of Mines Trade Workshops, c1984
A design for a Trade and Art Workshop at the Ballarat School of Mines was prepared by Ewan Jones and Associates on the Albert Street boundary around 1984. The M.B. John Building (Building K), a three storey, face red brick, restrained Late Twentieth Century International styled building with an elongated, cuboid form (defined by the parapeted facades) that is offset by projecting exposed concrete framed, round‐arched entrance and stair wells on the east (Albert Street) elevation (the centrally located entrance breaking the brick façade with glazing). The facades are also characterised by banks of aluminium framed, horizontal ribbon windows, which wrap around the building corners. Metal shades project beyond the windows, while post‐supported bullnosed verandahs and hoods and projecting concrete stairs are other features. On the west elevation, the cuboid façade is punctuated by projecting curved concrete and glazed, elongated bays at first floor level. (David Rowe/Wendy Jacobs) The M.B. John Trade–Art building of SMB was officially opened by the Hon. John Cain, Premier of Victoria, in the presence of Morgan B. John. Programs include 3 Dimensional Art, Painting & Decorating, and Engineering Trades. (SMB Institutional Plan 1989)Black and white photograph of a sketch for the proposed Trade Workshops at the Ballarat School of Mines, from the Albert Street vantage point. This building is known as the M.B. John Building on the SMB Campus.ballarat school of mines, trade workshops, flecknoe, m.b. john, ewan jones and associates pty ltd, albert street, morgan b. john, ewan jones and associates -
National Wool Museum
Functional object - Floorboards, 1994
Two short sections of flooring cut for distribution during Deakin Universities ‘Open Day’ in December 1994. This was during the conversion of Dalgety Wool Store to Deakin University’s Woolstore Campus. These small pieces of timber are part of Geelong’s history and were salvaged from the Dalgety Woolstores during the renovations. Hundred of meters of ironbark, red gum, pine and other timbers, some more than a century old, were reclaimed from the site and have been recycled as furniture and featured building materials for the woolstore campus. The old brick stores, located on a formerly neglected section of the Corio Bay shoreline, now house the administration and chancellery, architecture and building schools, information technology services, the student union, a cafeteria and, as the focal facility, a Great Hall seating 1500 people and acoustically tuned for symphony orchestras. The refit was developed from the existing grid of substantial timber columns and beams extending over 52,000 square metres. This framework was filled with lightweight panels to enclose workplaces and removed in some parts to establish courtyards, atriums and streets. The brick facades were redefined with new doors and double-glazed windows in proportion to original fenestration. Bright colours and industrial finishes identify the new insertions.Square sections of redgum lumber cut into floorboards. The sides of the lumber have a grove cut on one side and a matching section to fit within this groove on the other side. This has been done to ensure the floorboards have a tight and consistent fit with one another. The bottom of the lumber also has an additional grove running through the middle of the redgum. On top, one of the sections of lumber has three nail holes, which travel all the way through to the bottom of the wood.deakin university, dalgety wool store, red gum -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Woodfired Stoneware Platter by Tim Holmes, c1983
Tim HOLMES Born Wales Tim Holmes first became interested in pottery on a visit to New Zealand in 1969. After returning home he studied at the local art school, then enrolled at the Harrow School of Art in 1973. While there, he was introduced to Gwyn Hanssen Pigott's work, and returned to Australia to help her set up a pottery in Tasmania. He established his own Garden Island Creek Pottery in 1977, and started making wood-fired pottery, digging and milling his own clay. He used a two- chambered kiln, firing raw- glazed domestic stoneware in the first chamber and earthenware garden pots in the second. In 1988, he moved his pottery to the Potter's Croft at Dunalley on the east coast of Tasmania. He and his wife Tammy now run the Potter's Croft as a bed and breakfast with a craft gallery, and he is still making pottery using a wood-fired kiln. Garden Island Creek Pottery had its own impressed stamp, and work may also be impressed 'TH' or incised 'T. Holmes'. Tim Holmes was a visiting visitor to Gippsland Institute of Advanced Education (later Federation University) in 1983. He was a lecturer at 'Woodfire 86'.Woodfired Stoneware Platter tim holmes, ceramics, artwork, jan feder memorial ceramics collection, gippsland campus, artists, woodfire 86, garden island creek pottery -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Raku Lidded Pot with Tall Handle' by Bruce Anderson, c1984
Bruce ANDERSON (20 August 1950- Born Surry Hills, Melbourne, Victoria In 1971 Bruce Anderson obtained a Diploma of Art (Sculpture) from the Prahran Institute of Technology. For the next two years, he worked at Raynham Ceramics in East Bentleigh, making slipcast ware. After a year of National Service, he completed a teacher education course at the State College of Victoria, Auburn and taught for a time in the secondary school system. In 1977, he moved to Queensland to take up a position as Head of the Ceramics Department at Townsville TAFE. In 1984, he relocated to the Darling Downs Institute in Toowoomba and was still teaching there in his entry in the 1986-7 directory, working in raku and blackware fired with gas in a ceramic fibre kiln. During 1986, he moved to Adelaide to take up a position as senior lecturer in ceramics at the South Australian School of Design. During the late 1980s and 1990s, he began to make sculptural works of architactural form cast from a mixture of terracotta clay and refractory concrete. Part-glazed, the works allude to primitive industry and utilitarianism. In 1984 Bruce Anderson was a guest at Spotkanie held at the Gippsland Institute of Advanced Education.Raku teapot with tall handle. bruce anderson, ceramics, jan feder memorial ceramics collection, gippsland campus, teapot, raynham ceramics -
Wycheproof & District Historical Society Inc.
Photograph, St Andrew's Presbyterian Church Complex
The first Presbyterian gathering was held in Wycheproof in 1876, this led to the organization of a congregation and the building of a church. The first church was in Charles Street on the north side of the Mount. It served the congregation for twenty years. The new church in Mount Street opened 06-09-1896 and after 115 years the doors closed for worship in 2011.A building of spiritual and social significance to the Presbyterian congregation and wider community of Wycheproof and District for 115 years.Small format sepia print taken between 1912-1937of the Wycheproof Presbyterian Church Complex. Designed on early English lines, the church dated 1896 was built of red-brick with buttresses and decorated cream-brick trimmings. The arched windows are glazed in diamond shaped leadlight. The high pitched roof is of galvanized corrugated iron. The Sunday School Hall 1912, of timber construction with feature trim of arched windows and doors and a galvanized corrugated iron roof. The Manse 1909, of timber construction with galvanized corrugated iron roof and fret-work on the space above the verandah. Iron lace decorates the wooden verandah posts. Fencing: Post and Rail. Kodak print /501presbyterian, church, sunday school, manse, building, 1896, post and rail fence, red-brick, timber -
Federation University Art Collection
Ceramic, 'Stoneware Jar' by Victoria Howlett, c1982
Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection -
Parks Victoria - Mount Buffalo Chalet
Crockery
The jug and cup were purchased from a second - hand shop in Bairnsdale. Jug is older than cup as the chalet is represented as a single storey structure. The cup is later as the second storey appears in the illustration. 'Souvenirs in relation to the Chalet and Mount Buffalo wee first mention in December 1912... A large range of souvenirs has since been associated with the Chalet and Mount Buffalo from crafted wooden items, silver spoons, cups etc... The collection includes a broad selection of products that have been sold throughout much of the Chalet's history, each representative of the transient fashions of their period.' (Pg. 114. Historica) 'A group of tableware items is notable for its black transfer printed decoration, which features the Chalet building. Interestingly, the printed designs represent the Chalet at two different stages in its building history under the Victorian Railways, in 1926 after completion of the north wing, and 1937-39, after the second storey is added to the front.. manufactured in England by A.B. Jones and sons, a Stoke on Trent pottery firm which operated under the trade name of Grafton China between 1900-1972.' (Pg. 114. Historica)Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Souvenirs. (Pg 168. Historica)..1] Ceramic jug. Souvenir of Mt Buffalo. White ceramic squat milk jug with a black transfer illustration/drawing on front side. Picture is of the MtBuffalo Chalet from the front. Some worn gold glaze detail. It appears to be a single story building with a planted garden at the front with a fence. Trees to one side and people walking up steps. "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. Jug has a faint crack. .2] White ceramic cup with gold edging around top of cup. Black transfer drawing of the chalet with a second storey. Rocks and tree in foreground and "THE CHALET. MT BUFFALO." underneath transfer. .1] "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. On the base of the jug, with sun motif, "ENGLAND / GRAFTON CHINA /A / B J / & SONS / LOFTUS MORA / PTY. LTD" .2] "THE CHALET. MT BUFFALO." underneath transfer. Under cup, "A.B.J. / GRAFTON / CHINA / MADE IN / ENGLAND" -
Warrnambool and District Historical Society Inc.
Decorative object - Esam Money Box, 1850
This money box is believed to be an antique Prattware piece modelled on a n English Methodist Chapel. It was a gift to a young girl, Sarah Ann Esam born in 1850 in Lincoln, England. Her parents John and Ann Esam emigrated to Australia in 1865 with six children one of whom was Sarah. John Esam became well known in Warrnambool as an engineer and windmill maker. His best known windmill is the one he made for "Lyndoch". Sarah Ann Esam died in Henna Street, Warrnambool in April 1915 on Easter Monday. This money box is of considerable significance because of its age, its artistic attractiveness and its connection to the Esam family who were prominent in Warrnambool in the 19th century. This glazed piece of pottery is a child's money box modelled on an English Methodist Chapel. It has a blue tiled roof with yellow edges, a slot for coins at the back.and two chimneys at each end of the building. The primary colour of the cottage is white It has two storeys, the upper one has six lead light windows framed with yellow and the ground storey has two brown doors with lead light fan windows. There is a pink colored figure standing in one corner of the base. The base is green representing grass. The edges of the base feature blue crosses interspersed with yellow dots. The black inscription on the front is artistically written. One chimney is damaged.as are the four base corners. S. ANN. ESAM. Born August 8th LINCOLN 1850esam, money box, prattware