This text summarises the differences in architecture and proposes, unlike in other art forms, that architecture has a mainstream which has consistency in it, yet is also ever changing. The term 'modern architecture' is becoming suspect and obsolete. Visual art is inevitably involved with social evolution. It discusses utilitarian and creative architecture. Boyd proposes architecture is between science and art, and that architecture by itself means the architecture of this age.Typewritten, quarto, 11 pages (Note: Mentions the 1960s, possibly implying it was written late 1960s-1970/1971)modern architecture, social evolution, utilitarian architecture, creative architecture, mcluhan era, glutternberg era, henry russell hitchcock, paul rudolph, philip johnson, kenzo tange, archigram, sydney opera house, reston, robin boyd, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D193, differing side notes on left side of pages)This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 15 pages (compared to D193, 11 pages) (Two copies)One copy has crisper letters typed over on pages 1 and 5.university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A, is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D188, differing side notes on left side of pages)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D188 is the draft version.Typewritten, foolscap, 11 pages, (compared to D188, 15 pages)university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript, ohm2022, ohm2022_30

Hardcover w/ Dust JacketNote from Johnwalsh st library

SoftcoverHandwritten note from the artist to Patricia and Johnaustralian art, national gallery of victoria, clifford last, geoffrey edwards, noel hutchison, walsh st library

Contents: p.1-3; Origins, arrival in Australia; p.4-9; How they lived - camp sites, dating (including carbon dating); p.10-27; Physical appearance, skin colour, hair, clothing, body ornaments, cicatrization; exchange system, distribution of food, marriage &? sexual relations; the tribe - structure, relationship to land, territory, gives map showing locations of tribes, New South Wales, Victoria &? eastern South Australia, leadership, government, division of labour, status of women, estimated population at white settlement, density of population (Victoria); p.28-31; Language - names &? naming, reproduces Wembawemba vocabulary, notes use of secret languages, gives 12 rules for pronounciation; p.32-53; Religion, spirit beliefs, totemism, moieties, phratries, marriage rules; mythology, gives eaglehawk &? crow myth from Lake Victoria &? other myths illustrating origins of fire &? natural rock formations, mythical beasts (Bunyip, Mindie), stellar beliefs; magic, medicine men, powers, native remedies for sickness, describes ceremony held in Melbourne, 1847 to avert evil, sorcery, pointing bone, love magic, rain makers; messengers, appearance, etiquette, message sticks; p.54-71; Rock art, motifs, colours, decorative art, engraving of utensils, rock engravings, manufacture &? use of pigments, engraving techniques; trade system, objects bartered, meeting places for trade (Victoria), map shows possible routes (south east Australia); corroborees, purpose, body ornaments &? decorations, musical instruments; p.72-93; Ceremonial life, marriage, punishment for infidelity, birth, childhood, games &? amusements, initiation, etiquette of visiting tribes, details of ceremony, womens role, earth figures &? ground designs, bull roarers, female puberty ceremonies; p.94-133; Shelters, fire making, cooking, construction of canoes, wooden implements, use of reeds, animal skins &? sinews, shells; stone tools, cylindro conical stones, scrapers, knives &? microliths; hunting weapons, spear, other methods pits, nets; fishing methods &? spears, traps; food sharing, womens responsibilities for collecting, digging stick, cooking methods, insect foods, plant foods, water resources; manufacture &? use of spears, spear throwers, shields, clubs, boomerangs; inter- &? intratribal fighting; p.134-147; Death, disposal of body - eating of the dead, burial, cremation, platform exposure, dendroglyphs (N.S.W.), Aboriginal burial grounds (Darling &? Murray Rivers), mourning, widowhood, kopi caps (N.S.W.), causes of death, inquest ceremonies, revenge expedition, after death beliefs; p.148-157; The end of the tribes white settlement &? its impact on Aboriginal life, friction between natives &? settlers, establishment of Protectorates; copiously illustrated throughout.maps, b&w illustrations, b&w photographswemba wemba, murray river, darling river, lake victoria

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Living room of architect Bent Karlby's home in Ordrup, Copenhagen, Denmark. Note, Karlby's Peanut Pendant Lamp (1946) - centre top. (Architect: Bent Karlby .)Copenhagen / Ordrup / Karlby, arch / Own home - Living room / 1950 (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Art Deco house, Massawa, Eritrea, Africa. Note: This building appears to have still been standing in 2003Africa Massawa House (Handwritten) / House in Residentiac (Italian) (Handwritten) / Sector of Massawa (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

The bottle was donated to the Council by Hedley Elliott for an exhibition in the Art Gallery (George Evans Museum). Note that Goonawarra is misspelt on the label.Green glass bottle used for 1975 claret and bottled for the first Sunbury Fair. The label is printed in brown and cream and features a sketch of the Goonawarra Winery and surrounding area. There is a brief statement on the back about the winery and the background to production of the wine. On the back is a hand-written label, stuck on with clear tape giving an account of the origin of the bottle of wine, its donor and storage instructions. It has a black metal cap and miscellaneous markings on the flat bottom."Sunbury Fair / Goonawarra Vineyard (above) was established / in Sunbury in 1858 by the / Hon. J. G. Francis, former Premier of Victoria. / This 1975 Claret from the Stanley Wine Co. / was bottled by Emerald Wines especially / for the Sunbury Fair / WINE PRODUCED IN AUSTRALIA F100 750ml". The hand-written label is signed by John McKerrow in 1985.sunbury fair, wines, goonawarra vineyard, stanley wine company, emerald wines, elliott, hedley, mckerrow, john, festivals and celebrations, francis, j.g. (hon.), george evans collection, 1970s

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Two men embrace in despair. One man throws his arms around the other man's shoulders. The other man holds the other's back. Surface treatment is textured. Dark metallic brown colour with figures starting to turn a green patina. Note stuck with tape underside of sculpture 'Savage Art Prize Peter Wegner (phone number) The Embrace 2011'wegner, bronze, figurines, black saturday, sculpture

The Aquarian Esoteric Group Melbourne made the robe as an entry in the 'In the Tracks of Hercules' exhibition in London December 2005. See attached notes.Front cover of the exhibition catalogue for "In the Tracks of Hercules" Entry for 'Minerva's Robe' in exhibition catalogue "In the Tracks of Hercules" Promo card for exhibition "In the Tracks of Hercules" First page of "Triangles Bulletin" which contains an article about the exhibition "In the Tracks of Hercules". Concept sketch of the front of 'Minerva's Robe' Concept sketch for back of 'Minerva's Robe' Minerva's Robe Back of Minerva's Robe Detail of Minerva's Robe Detail of Minerva's Robe Comments on making the robe by the group Poem "Minerva's Robe" by Helen Baxter Articles offered form for 'Minerva's Robe' The history of 'Minerva's Robe' Document "In the Tracks of Hercules 'Minerva's Robe' The Journey" 'The Process of Creating "Minerva's Robe"'knitting handicrafts textile art, aquarian esoteric group, costume, heywood, mrs anne, knitting, handicrafts, textile art

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Photograph depicts a Sturgeon merino ram of the Negretti type. According to the notes accompanying the donation, the photograph is believed to have been taken in England in c.1860.Photograph - "Sturgeon's Merino"STURGEON'S MERINO / 2 YEARS OLD LIVE WEIGHT 192 lbs. / PERMANENT CARBON PHOTO. This Photograph represents a Sturgeon Ram of the pure Negretti type, ... / [12 further lines of text]sturgeon merino, negretti, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), sturgeon, mr glen

Information from the notes of Nancy Leach re Emma Elizabeth Weston who sailed for Melbourne on the 'Charlotte Gladstone' on 9/9/1869. She subsequently ran a bakery in Swanston street and later married Thomas Scott, Tinner and Galvanizer. They lived in Victoria street (now rooks Road) and had several children, one daughter being named Emma. Emma married Mr. Ottenbach who jumped ship from the German navy and they had a daughter, Christina who was a member of the Nunawading Historical society. Emma (Junior) worked at the Australian tesselated tile Co. in Mitcham and learnt art in order to design tiles.Information from the notes of Nancy Leach re Emma Elizabeth Weston who sailed for Melbourne on the 'Charlotte Gladstone' on 9/9/1869. weston, emma elizabeth;, scott, thomas, emma elizabeth, otterbach mr, otterbach, christina emma, australian tesselated tile co pty ltd, leach, nancy, pioneers

Comprehensive and brief account of the Eureka rebellion and the story of the flag of the Southern Cross. Includes photographs of various artistic representations that are held in the Ballarat Fine Art Gallery. Written for the 150th anniversary of the Eureka Stockade. Contents: Machine derived contents note: Eureka Timeline and Personalities 6 Eureka Revisited: the contest of memories 9 Anne Beggs Sunter The Eureka Flag and its champions 23 History of the Flag 24 Holy Relics - the puzzle of the pieces 35 Design and making of the Eureka Flag 38 Symbols and Legend 40 Artistic interpretations 40 Films 44 Writing and dramatising the legend 47 Songs and Musicals 49 The living tradition of protest 50.Relevant to the history of Ballarat, gold mining, Ballarat Reform League and the Eureka Rebellion.Book; 56 pages; pictorial. Front cover: white background; colour painting, "Pioneer", by Sally Smart; blue and gold text; title.btlc, ballarat trades hall, lalor, peter, humffray, john, eureka stockade, eureka stockade - anniversary, eureka flag, southern cross flag, art and history, ballarat reform league, history - ballarat, ballarat trades and labour council, art, australian - 19th century - exhibitions

Large tapestry depicting Bialik students holding hands and the school motto 'Step forth with courage'. Note on the reverse reads: 'Step forth with Courage' designed & woven by Cresside Collette and the students of Grades 4, 5 & 6 Bialik College 1997 Please contact [email protected] to request access to this record.art, artwork, 1990s

In 1969 RMIT lecturer Gerard Herbst arranged an exhibition the work of his Industrial Design students at the NGV’s Design Centre. In ‘Design with Paper' the students explored the characteristics of a sheet of paper, an exercise based on similar ones set by Josef Albers at the Bauhaus, Germany and Black Mountain College, USA. The exhibition attracted press attention, Bulletin critic Brian Hoad noting You are told that in the tradition of Gropius and his Bauhaus experiments of the ‘twenties they are attempting to bridge the gulf between the fine arts and the technical crafts to produce one day from among their numbers a new type of creative thinker. Photograph featuring students in 'Designs Performing' exhibit. Students are from the RMIT Industrial Design course.design, rmit university, bauhaus, industrial design

Max Robinson (1934-2018) designed this record sleeve for the World Record Club in 1961. Robinson studied for a year at the Melbourne Technical College (RMIT University), and in his early career worked for Peter Clemenger and the graphic designer, Max Forbes. He produced a number of striking record covers for the World Record Club in the late 1950s and early 1960s. Robinson’s work is familiar to many Australians – he designed the new $10 note in 1993, which featured Banjo Paterson and Dame Mary Gilmore. The World Record Club’s operated in Melbourne from 1957 until 1976; it was a mail order service, and its art director, Geoff Digby commissioned young designers and artist to design the record sleeves. It is regarded now as one of most representative collection of Australian designers’ work of its period, and highlights the years of transition from ‘commercial art’ to ‘graphic design’. The album cover was donated to the Archive by the World Record Club’s art director, Geoff Digby. Ann Carew, 2020This record sleeve is historically significant for its association with Max Robinson, who was inducted into the Australian Graphic Design Association’s (AGDA) Hall of Fame in recognition for his work as graphic artist, but also his tireless advocacy for graphic design in Australia. It is aesthetically significant as an early example of the design work of Max Robinson. It is historically significant for its association with the World Record Club, an organisation that produced a representative collection of Australian graphic designers’ work from 1957 until 1976. the Pines of Rome . Respighi / Roman Carnival overture . Berlioz / Herbert Von Karajan / the Philharmonia Orchestra / Les Preludes . Lisztworld record club, max robinson, rmit university, rmit design archives, geoff digby, record sleeve design, graphic design

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.The Art of Michelangeli. LP 33RPM vinyl, Catalogue Number: World Record Club W.R.C. S/4831, Record cover, plastic sleeve, 1 vinyl disc, cover notes (no author listed). Beethoven, Galuppi, Scarlatti.lp, sound recording

A proposal letter written by Mark Strizic for a grant from the Commonwealth Art Advisory Board to fund a series of art books. Strizic proposes a series of books illustrated by Strizic's own photography, under the series title Expressions. Strizic seeks a grant of $4900 from the board for the publication of two books, one of furniture maker Schulim Krimper, another on John Perceval's Cherubs. Budgets for these books are included, proposing to use the profit from sales to fund subsequent books, including one on the Centre 5 group of sculptors and one with Australian poets with graphics by artist Stan Ostoja-Kotkowski.Typewritten, carbon copy, foolscap, 4 pagesRobin Boyd pencil noterobin boyd, meriel wilmot-wright, myer foundation, mark strizic, schulim krimper, brian lewis, margaret garlick, inge king, clifford last, lenton parr, teisutis zikaras, julius kane, centre 5, time riders, john perceval, vincas jomantas, stan ostoja kotkowski, judith wright, roland robinson, kenneth slessor, max harris, claude wischik, commonwealth art advisory board, andrew grimwade, national gallery of victoria, joseph brown, brian stonier

The postcard has a poem that says "Manifestly, since love is the law of life, If men are to be won from hate to love, If those who doubt and deny are to be wooed to faith, If the Race is ever to be led and lifted into a life of Service, It must be by the Fine Art of COMRADESHIP. - J. Ford Newton" The hand written note says: "Dear Bill, Just to wish you all the best for 1943. Yours sincerely, Herb Greenway." There is no post mark, postage stamp or address on the card. Presumably this card was hand delivered as a New Years greeting in 1943. Herb Greenway worked on the gardens of the Legacy Hostel in Kew.The postcard has a sentiment about Comradeship.Colour postcard. Poem written on the front and a brief note written on the back. Front of postcard has a Comradeship poem. Rear of postcard has a brief note from Herb Greenway to Bill in black ink. comradeship, legatee

Photos taken at the 13th Annual Widows' Art and Craft Exhibition held at Legacy House in 1994. The note with the photos says: "The quality and ingenuity of the arts and crafts entered were outstanding and quite a daunting task for the judge, Mrs Janice Bridges". This was an Annual Art and Craft Exhibition that was run by the widows club. The items could be sold at trading tables and at the table outside Legacy House during Badge Week in September to raise funds. There were craft afternoons throughout the year for widows to learn new skills and gather together at Legacy House. These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for widows.Colour photo x 9 of exhibits at the 1994 Art and Craft Exhibition.widows, craft, activities