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Wangaratta Art Gallery
Print, Arthur Willmore et al, The Old & New Home Stations, Victoria (Bontharambo, Wangaratta), 1873-1876
... of Australia’s art culture through his artwork as well as working ...This etching by British engraver Arthur Willmore was created from Russian born artist Nicholas Chevalier’s original watercolour landscape of Bontharambo, Wangaratta (Chevalier’s watercolour is held in the collection of the National Library of Australia). Chevalier moved to Australia during the Colonial period and is famous for his landscape paintings, which were most commonly commissioned by wealthy landowners or merchants wanting to record their material success. Bontharambo is a historic property located in Wangaratta which was made famous by pastoralist Joseph Docker who took up the Bontharambo run in 1838 and has remained in the family since. The historic homestead on the property was built between 1857-1859 and was designed by architect Thomas Watts.ColonialWangaratta Art Gallery CollectionA rectangular landscape etching of the homes on Bontharambo station printed in black ink on off-white paper.Obverse: N. Chevalier/ A. Willmore/ THE OLD & NEW HOME STATIONSwangaratta art gallery, arthur willmore, nicholas chevalier, bontharambo, wangaratta -
Wangaratta Art Gallery
Painting, Lorna Chick, Up Where The Eagles Nest, 1969
Lorna Chick was a local artist whose works depict farming and community landscapes, which reflected her main occupation of living and working on the family farm with her husband and two sons. Chick was a naïve artist who used the aerial viewpoint as a constant device in her landscapes. Her naïve art style allowed her to distort the common notion of landscape paintings being horizontal viewpoints, bringing a different understanding to her artwork.naïve artRural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular aerial landscape oil painting of a farming community overlooked by eagles painted using vibrant coloursObverse: LORNA CHICK ©wangaratta art gallery, lorna chick, landscape, farming, eagles, north east victoria, painting -
Wangaratta Art Gallery
Work on paper, Maurice Cantlon, Bontharambo, 1965
... and the pastoral history of Victoria. wangaratta art gallery maurice ...Cantlon is widely known for his illustrative paintings of Victorian historic homes, and he wrote and illustrated Homesteads of Victoria 1836-1900 published by Georgian House in 1967. Bontharambo is a homestead located in Wangaratta and was built in 1857-9. This homestead plays a prominent role in the history of Wangaratta and the pastoral history of Victoria. Rural City of Wangaratta Collection. Purchased with funds from the Wangaratta Art Council.An black ink sketch of the Bontharambo homestead on white paper.Obverse: Cantlon 65/ (bottom right)wangaratta art gallery, maurice cantlon, ink drawing, bontharambo, homestead -
Wangaratta Art Gallery
Work on paper, Maurice Cantlon, Fairfield, Rutherglen, 1966
Cantlon is widely known for his illustrative paintings of Victorian historic homes, and he wrote and illustrated Homesteads of Victoria 1836-1900 published by Georgian House in 1967. Fairfield, Rutherglen is located in the North East region of Victoria and is a historic homestead that was built in 1889 and plays a prominent role in the history of the region. Rural City of Wangaratta Collection. Purchased with funds from the Wangaratta Art Council.An black ink sketch of the Fairfield homestead on white paperObverse: Cantlon 66/ (bottom right)wangaratta art gallery, maurice cantlon, ink drawing, homestead, fairfields, rutherglen -
Wangaratta Art Gallery
Painting, Mollie Hill, Borough Offices, 1962
Mollie Hill was a famous Welsh-born Australian watercolourist who studied at the Melbourne National Gallery Art School and is known for her 'eye for colour'. Her work features many landscapes of northern Victoria as she lived for some time in Shepparton and Wandiligong. She was also a well-known journalist. Depicted in this painting is the old council borough offices which were demolished in 1962. Rural City of Wangaratta Collection. Gift of Wangaratta Co-operative Housing Society No. 3 Ltd.A watercolour landscape of the old Wangaratta borough offices painted using shades of green, red, blue, and brown.Obverse: Mollie Hill/ (bottom right corner) PRESENTED/ TO THE BOROUGH OF WANGARATTA/ BY WANG. CO-OP. HOUSING SOCIETY/ NO. 3. LTD. IN APPRECIATION OF THE/ GENEROUS ASSISTANCE RECEIVED./ (in mounting board)wangaratta art gallery, mollie hill, watercolour, painting, landscape, borough offices -
Wangaratta Art Gallery
Painting, John Colin Angus, North East Valley, c. 1969
Rural City of Wangaratta Council Collection. Purchased with funds from Wangaratta Arts Council.A landscape oil painting of a lush and rocky valley painted in shades of green, blue, and brown.wangaratta art gallery, john colin angus, j colin angus, landscape, painting, north east victoria -
Duldig Studio museum + sculpture garden
Sculpture, Mask by Karl Duldig 1921, 1921
... (German Applied Art exhibition) in Munich in 1922, an early... was exhibited in the National Gallery of Victoria exhibition Vienna: Art ...Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back -
Duldig Studio museum + sculpture garden
Furniture, Viennese bedroom suite manufactured by Sigmund Jaray Kunstmobelfabrik 1931, 1931
The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig. -
Duldig Studio museum + sculpture garden
Sculpture, Moses by Karl Duldig 1956 (Bronze Cast 1979), 1956 / 1979
This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground. -
Nillumbik Shire Council
Ceramic (bowl): Alexandra COPELAND, Vanity, 1/9/1994
... Victoria Museum and Art Gallery in Launceston, Tasmania. ...' series is held in the Collection of the Queen Victoria Museum ...This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette -
Nillumbik Shire Council
Sculpture: Angela NAGEL, How to Explain Genetics to a Thylacine, 2009
Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic -
Nillumbik Shire Council
Drawing (Pastel): Nicholas Nedelkopoulos (b.1955 Melb, AUS), The Sneeze, 1995
Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze -
Nillumbik Shire Council
Painting: Penelope AITKEN (b.1967 Melb. AUS), Mapping Mass & Void 10, 2008
Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015 -
Nillumbik Shire Council
Print (lino): Kate HUDSON (b.UK - a.1990 AUS), Wattle and Circle Vase, 2012
Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient -
Nillumbik Shire Council
Sculpture: Michael WILSON (b.1943 Hastings, Victoria), Cicada, 1997
Michael Wilson learnt the craft of Goldsmithing after seeing well known sculptor and silversmith Matcham Skipper working in his studio at Montsalvat in and around 1970. This work is a gift to the Eltham Community in recognition of his twenty five years of developing his goldsmith skills and operating his business within the Shire. Wilson officially opened his commercial premises in 1985. Michael Wilson is a local jewellery maker. His work is influenced directly by the environment in which he lives. This sculpture is representative of his distinctive style of work as a nationally and an internationally recognised Designer and Goldsmith. Made of steel and powdercoated in aluminium with a concrete base. Decorative elements such as the ring encasing the cicada and the cicada's wings are guilded with 24ct gold leaf. The steel rod is burgundy in colour with the cicada painted a dark olive green to represent the 'Green Grocer' variety common in Eltham. The colours used in this sculpture match the surrounding Elm and Ash trees in the landscape. N/Apublic art, cicada, wilson, gold, green grocer, jewellery -
Nillumbik Shire Council
Painting: Eric Stephensen (b.1916), Silent Lagoon, 1966, 1966
Oil on canvas. Painted at Art Historian, Bernard Smith's dam beside Karingal Drive in Eltham, Victoria. Rich, green shrubs and eucalyptus trees surround the water, reeds grow in the dam. The surrounding landscape is reflected in the water. Sloping land and bush fill the background. -
National Wool Museum
Rug, The Egyptian
A rug designed to celebrate the exhibition of Egyptian art 'Life & Death Under the Pharaohs' from 'The National Museum of Antiquities' in Leiden, The Netherlands. It was made onsite at the National Wool Museum on the 1910 Axeminister loom. The rug was gifted to Brintons Carpets in 1999 as a gesture of thanks along with framed photographs and a certificate of authenticity.W7185 'The Egyptian' Rug Photograph of the wool bobbins on the loom Photograph of the wool bobbins on the loom Photograph of design being prepared for loom Photograph of design being prepared for loom Photograph of design being prepared for loom Photograph of rug being manufactured. Photograph of rug being manufactured. Photograph of rug being manufactured. National Wool Museum Catalogue Worksheet for W7185 page 1 National Wool Museum Catalogue Worksheet for W7185 page 2 Page 1 of a history of Brintons Carpets. Page 2 of a history of Brintons Carpets. A list of catalogues/items in the Brintons Collection donated after closure of Fellmongers Road factory in July 2008.furnishing textile industry, brintons australia pty ltd, carpet, geelong, victoria, furnishing, textile industry -
National Wool Museum
Textile Handcraft, The Afternoon Tea Party: Celebration Cake
... . Melbourne Victoria Agricultural shows Handicrafts Textile Art ...The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party", designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to form a group and be able to demonstrate a number of wool crafts in at least five different items. The covering of the cake was woven by Anneli Rickards, the plate woven by Jean Inglis, Mary Donnan and Val Ingeme made and assembled the floral trimmingsagricultural shows handicrafts textile art knitting weaving, geelong handweavers and spinners guild inc., spinning - hand, felting, weaving, ingeme, mrs val inglis, jean - geelong handweavers and spinners guild inc. rickards, anneli - geelong handweavers and spinners guild inc. donnan, mary - geelong handweavers and spinners guild inc., melbourne, victoria, agricultural shows, handicrafts, textile art, knitting -
Westbourne Grammar Heritage Collection
Memorabilia - Year 12 Art and Signatures Book 1983 - 2018, 1983
In 1978 a new campus for Williamstown Grammar, named Westbourne, was established at Truganina to accommodate the new secondary school. The first year 12 class graduated in 1983 and to commemorate this historic event, the Year 12 art and signature book was begun. Since 1983, each Year 12 group has nominated a student to create an artwork, which in many cases represents a theme that was important to the Year 12 cohort at the time, to be signed by each student of Year 12. The practice quickly became to create the artwork on a separate sheet of paper and paste it across the fold of each consecutive double page spread. The book, opened at the entry of the graduating class, would then be displayed at the Year 12 Valedictory Dinner each year.This books commemorates each graduating year 12 class since the establishment of the secondary campus at Truganina. It is an example of beginning community building traditions for the new school.Red vinyl bound book with tan-coloured suede corners and spine. The front cover features gold embossed lettering of the school name above a school logo (self-adhesive applied after manufacture) with further embossed gold lettering 'Year 12' below. Artworks on paper have been adhered across bifold pages of the book, using unknown adhesive, each year between 1983 and 2018. Adhered pages contain mixed media. Pages at the back of the book contain lists with senior student office holder names and signatures for each year 1983-2018.year 12, graduation, valedictory, art, community, student work, prefects -
Westbourne Grammar Heritage Collection
Book - Charles Steedman, 1867, Manual of Swimming, 1867
Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar -
Stawell Historical Society Inc
Photograph, Young Boy in Formal Suit -- Studio Portrait
... Miniatures (on diagonal reading Upwards) Wm B Latimer Photo Art... reading Upwards) Wm B Latimer Photo Art Studio 145 Smith Street ...Huttley - MartinB/W. Oval Portrait Young Boy in suit.Wm B Latimer 145 Smith Street Fitzroy On Reverse: ? Specialite Instantaneous Portraiture of young children. Enlargements Miniatures (on diagonal reading Upwards) Wm B Latimer Photo Art Studio 145 Smith Street Victoria.martin, huttley -
Emerging Writers' Festival
2007 Festival Photographs
The 2007 Emerging Writers' Festival was programmed by Steve Grimwade and ran from Friday, 25 May to Sunday, 27 May 2007, at the Melbourne Town Hall, State Library Victoria and Federation Square. Special events in 2007 included: - Friday night launch featuring a keynote speech by Waleed Ali on issues key to emerging writers - The 48-Hour Play Generator - Scrabble - the best in wordplay – the Festival's Saturday night party - Independent Press and Zine Fair – all day Sunday in the Atrium - RMIT Gallery art/text exhibition from May 1 - Speed Dating for writers and editorsA collection of digital photographs, taken at various events associated with the 2007 Emerging Writers' Festival.2007 emerging writers' festival, steve grimwade, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne -
Koorie Heritage Trust
Book, Designs in wood: Aboriginal artifacts of southeast Australia, 1987
An exhibition catalogue to publicly introduce the local Wintercooke and Fitzpatrick Collections, as well as to display selected items from The Victorian Aboriginal Cultural Heritage Trust on loan through the Museum of Victoria.32 p. : ill. ; 19 x 21 cm.An exhibition catalogue to publicly introduce the local Wintercooke and Fitzpatrick Collections, as well as to display selected items from The Victorian Aboriginal Cultural Heritage Trust on loan through the Museum of Victoria.art, aboriginal australian -- australia, southeastern -- exhibitions. | aboriginal australians -- australia, southeastern -- implements -- exhibitions. -
National Wool Museum
Functional object - Spinning Wheel, Philip Elford, 1976-7
Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood) -
National Wool Museum
Tool - Knitting Pins, 1960-69
The donor (Lynn Fitzpatrick) purchased these knitting needles 20 years ago from an opportunity shop. Aero Knitting Pins are a discontinued brand that were popular in the 1960s, 70s and 80s. They are made of smooth, aircraft-quality anodized aluminium. To this day, they are a popular and sort after knitting needle. Being a long-lasting product, they are often given as heirlooms. Abel Morrall was a major needle manufacturer from Studley, a town near Redditch. In 1785, Michael Morrall who was taught the art of needle making by a maternal uncle, moved to Studley. He founded the Abel Morrall company with his brother Abel, and another unnamed brother-in-law. Within five years the company was producing 40% of the 2.5 million needles that were made each week in the Redditch area. In 1811 the company introduced the concept of creating the eyes by using a stamping press. Additional machines were invented by them throughout the 19th century leading to major improvements in the way needles were produced. Abel Morrall demonstrated their needle making machinery at the Great Exhibition of 1851 and Queen Victoria personally inspected it. The company selected the demi-griffin for its trademark in 1861, which can be seen on older products produced by the company. Set of four knitting needles stored within paper packaging. Packaging features black, red, and white ink, detailing the selling points of the Aero Knitting Pins. The packaging folds with 3 main sections, each providing different insights into the knitting needles. Examples of this are " CANNOT SOIL LIGHT WOOL", "...SPECIALLY TAPERED POINTS WHICH WILL NOT INJURE THE FINGERS" and "RUSTLESS-NON-GLITTER FINISH". As the packaging unfolds, the grey knitting needles become visible. The needles can be removed from the packaging by sliding them through small bands of paper that hold the needles secure while in transportation. The four knitting needles are a “NEUTRAL” grey colour finished in a double point style.Printed. Orange, White and Black Ink Numerous, see multimediaabel morrall, knitting needles, knitting pins, 1960s home knitting -
National Wool Museum
Book, The Art of Knitting
"The Art of Knitting" exhibition catalogue from an exhibition held at the National Gallery of Victoria in 1989. Included historical and contemporary designer knitted pieces.handicrafts - history knitting fashion, national gallery of victoria, handicrafts - history, knitting, fashion -
Koorie Heritage Trust
Book, Central Business Dreaming, 2008
... Aboriginal Australian -- Victoria -- Melbourne. | Art... Arts Program. | Art Aboriginal Australian -- Victoria ...In recognition of Indigenous culture, we (The City of Melbourne) have initiated and supported the only dedicated local government indigenous arts funding program in Victoria.3-138 P.; ports.; index; facs.In recognition of Indigenous culture, we (The City of Melbourne) have initiated and supported the only dedicated local government indigenous arts funding program in Victoria.melbourne (vic). indigenous arts program. | art, aboriginal australian -- victoria -- melbourne. | art, aboriginal australian. | -
Koorie Heritage Trust
Book, Australian Aboriginal Art, 1929
... National Museum of Victoria-Exhibitions-Aboriginal art.... Federation Square, Melbourne melbourne National Museum of Victoria ...Issued in connection with the Exhibition of Australian Aboriginal Art, National Museum, Melbourne.39 p.; plates; ill.; 21 cm.Issued in connection with the Exhibition of Australian Aboriginal Art, National Museum, Melbourne.national museum of victoria-exhibitions-aboriginal art., artifacts, aboriginal, australia., victorian aboriginal art. -
Koorie Heritage Trust
Document - Printed Sheets, Blackfellows of Australia, 1936
Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.44p.; facsimiles; figs.; 30 cm.Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.aborigines-social life and customs., aborigines-victoria, murray river tribes-social life and customs. -
Koorie Heritage Trust
Literary Work - Catalogue, Primitive Art Exhibition. Melbourne, 1943 National Gallery & National Museum of Victoria, 1943
iii-vi; 26 P.; ports; ill.; 21 cm.indigenous art-exhibition