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Clunes Museum
Photograph, 1883
THIS PHOTOGRAPH IS A COPY OF OIL PAINTING BY SIR JOHN LONGSTAFF OF STILL LIFE - NOW HANGING IN CASTLEMAINE ART GALLERY & HISTORICAL MUSEUM. OIL ON CANVAS - SIR JOHN LONGSTAFF WAS BORN IN CLUNES IN 1862, AND HAD HIS FIRST PAINTING LESSONS FROM A DR. BRUHN IN CLUNES AT A VERY EARLY AGE.PHOTOGRAPH OF STILL LIFE, OIL ON CANVAS PAINTING. BY SIR JOHN LONGSTAFF. SUBJECT; VEGETABLES - POT AND RABBIT.local history, photography, photographs, longstaff -
Clunes Museum
Book, Percy, John, Percy's Metallurgy - Iron & Steel, 1894
... lettering on spine, 1864, subject matter, the art of extracting... embossed cover, gold lettering on spine, 1864, subject matter ...Dowlais is a former Iron/steel making and coal mining town in Wales, United Kingdom.1 Hardcover book light brown embossed cover, gold lettering on spine, 1864, subject matter, the art of extracting metals from their ores and adapting them to various purposes of manufacture. With illustrations, chiefly from original drawings, carefully laid down to scale. .2 Newspaper Article "Dr. Percy on Iron and Steel" published in The Times Tuesday, May 17, 1864 .3 Plan for Dowlais New Mills Gold Lettering on spine: "Percy's Metallurgy Iron & Steel London John Murray Faded Maroon stamp page 2 - Clunes School of Mines No. 24 16 Jun 93metallurgy, mining -
Darebin Art Collection
Artwork, other - Maree Clarke, River reed necklace, 2014
Maree Clarke is a pivotal figure in the reclamation of south-east Australian Aboriginal art and cultural practices and has a passion for reviving and sharing elements of Aboriginal culture that were lost – or lying dormant – as a consequence of colonisation. She a leader in nurturing and promoting the diversity of contemporary Koorie artists through her revival of traditional possum skin cloaks, together with contemporary designs of kangaroo teeth necklaces, river reed necklaces and string headbands adorned with kangaroo teeth and echidna quills. River Reed Necklace forms a key element of the artist’s practice regenerating cultural practices and strengthening cultural identity and knowledge. Maree Clarke has exhibited widely both nationally and internationally, and in 2021 she was the subject of a major survey exhibition Maree Clarke – Ancestral Memories at the National Gallery of Victoria. Other recent exhibitions include Tarnanthi, Art Gallery of South Australia, Adelaide (2021), The National, Museum of Contemporary Art Sydney (2021), Reversible Destiny, Tokyo Photographic Museum, Tokyo Japan (2021) and the King Wood Mallesons Contemporary Art Prize, for which she was awarded the Victorian Artist award. In 2020 she was awarded the Linewide Commission for the Metro Tunnel project and was the recipient of the Australia Council Aboriginal and Torres Strait Islander Arts Fellowship. -
Pyrenees Shire Council
painting, Maude Glover Fleay, Wind Damage by Maude Glover Fleay, 1932
A painter who studied under Frederick McCubbin, Glover-Fleay was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Her works are included in the Art Gallery of Ballarat Collection, Victoriasignificant as a work of art by modernist era woman artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture watercolour painting of a landscape scene with large treeSigned: Glover-Fleay 32 Verso: Wind damage WIND DAMAGE Winchelsea Kildean -
Pyrenees Shire Council
painting, The Crows Nest, Warapingo Beaufort by Maude Glover Fleay, 1930
Maude Glover-Fleay studied under Frederick McCubbin, Glover was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupialssignificant as a work of art by a modern era woman artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture watercolour painting of a landscape with large tree at centresigned: Glover Fleay 30 (lower right) -
Pyrenees Shire Council
painting, The Morning After the Storm by Maude Glover Fleay, 1930
Maude Glover-Fleay b. 1869 was a painter who studied under Frederick McCubbin. Glover-Fleay was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Her works are inlcuded in the Art Gallery of Ballarat Collection, Victoria significant as a work of art by a modernist-era woman artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture watercolour picture of a fallen treesigned: Glover-Fleay '30 pyrenees, maude glover-fleay -
Pyrenees Shire Council
painting, Storm Tossed, Twisted and Torn by Maude Glover Fleay, 1934
Maud Glover-Fleay b. 1869 A painter who studied under Frederick McCubbin, Glover-Fleay was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Glover-Fleay's work is included in the Ballarat Fine Art Gallery, Ballarat, Victoria significant as a work of art by a modernist-era female artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a large treeSigned: Glover-Fleay 34 (lower right) Verso: Storm Tossed TWISTED AND TORN -
Pyrenees Shire Council
painting, Dry Swamp by Maude Glover Fleay, 1935
"Maud Glover-Fleay b. 1869 A painter who studied under Frederick McCubbin, Glover was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Work is included in the Ballarat Fine Art Gallery, Ballarat, Victoria painting Signed: Glover-Fleay 35 (lower right) Verso: DRY SWAMP -
The Mrs Aeneas Gunn Memorial Library
Book, McMillan and Co, The life of Benvenuto Cellini, 1908
You should know that men like Benvenuto, unique in their profession, need not be subject to the law.'" "Thus spoke Pope Paul III on learning that Cellini had murdered a fellow artist, so great was Cellini's reputation in Renaissance Italy. A renowned sculptor and goldsmith, whose works include the famous salt-cellar made for the King of France, and the statue of Perseus with the head of the Medusa, Cellini's life was as vivid and enthralling as his creations. A man of action as well as an artist, he took part in the Sack of Rome in 1527; he was temperamental, passionate, and conceited, capable of committing criminal acts ranging from brawling and sodomy to theft and murder. He numbered among his patrons popes and kings and members of the Medici family, and his autobiography is a fascinating account of sixteenth-century Italy and France written with all the verve of a novelIndex, p.450.non-fictionYou should know that men like Benvenuto, unique in their profession, need not be subject to the law.'" "Thus spoke Pope Paul III on learning that Cellini had murdered a fellow artist, so great was Cellini's reputation in Renaissance Italy. A renowned sculptor and goldsmith, whose works include the famous salt-cellar made for the King of France, and the statue of Perseus with the head of the Medusa, Cellini's life was as vivid and enthralling as his creations. A man of action as well as an artist, he took part in the Sack of Rome in 1527; he was temperamental, passionate, and conceited, capable of committing criminal acts ranging from brawling and sodomy to theft and murder. He numbered among his patrons popes and kings and members of the Medici family, and his autobiography is a fascinating account of sixteenth-century Italy and France written with all the verve of a novelart - italy - history, artists - florence - biography -
The Mrs Aeneas Gunn Memorial Library
Book, George Routledge, The two paths : being lectures on art and its application to decoration and manufacture, delivered in 1858-9, 19
The following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form.Ill, p.232.non-fictionThe following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form. art, design -
Whitehorse Historical Society Inc.
Memorabilia - Box - Cigarette silks, 1911 - 1917
These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections -
Federation University Historical Collection
Booklet - Victorian Government Reports, Report of the Royal Commission for Promoting Technical and Industrial Education, 1886-8
The Appendix of Art Schools under the Technological commission includes Ballarat City Schoolof Art (Academy of Arts, Ballarat West), Ballarat East School of Art (Ballarat East Public Library, Barkly St) and Ballarfat West School of Art (Ballaarat Mechanics' Institute).1 Twenty-three page typed report on foolscap sized paper dated 1886. It includes an appendix of a List of Schools of Art Under the Auspices of the technological COmmission for the year ending December 1886. .2 Twenty page photocopy of typed report on foolscap paper. Dated 1886. It includes a syllabus of technological subjects recognised by teh City and Guilds of London Institute. .3 Thirty-one page typed report on foolscap sized paper. Dated 1887 .1 and .2 are sectioned - 2 large sheets folded to make 8 pages. Sections are them stapled together .1 and .2 Victorian Government reports printed by John Ferres, Government Printer, Melbourne .3 Report printed by Robert S. Brain, Government Printer, Melbourne Each report is numbered bottom left-hand side: .1 No. 21-[1s.3d]; .2 No. 67-[1s]; .3 No.36-[1s3d]technology, technical education, royal commission for technical education, education, henry brougham loch, joseph bosisto, art schools, science schools, w.c. kernot, frederick mccoy, c.r. blackett, f. stanley dobson, andrew burns, j.g burns, ballarat west school of art, ballarat city school of arts, r. baker, e.h.l. swift, a. doepel, henry wheeler, w.h. batten, james oldham, henry j. hall, kew school of art, maryborough school of art, trades hall female school of art, clunes school of art, castlemaine school of art, professor huxley, edward fraser, a. humphreys, j. oldham, f.j. hall -
Federation University Historical Collection
Booklet - Ephemera, Preparatory Technical School of Girls, c1919
The aims of the School was "To provide a Technical Training which will prepare girls for their future life's work. This school provides a continuity of study between the Primary and Senior Technical School (School of Mines) classes. This supplies a long felt want in giving a preliminary training for Technical Art, Craft, Commercial, and Industrial Education. It must, however, be distinctly understood that these Preparatory Classes do not fully qualify girls in any of the subjects, but rather discover their aptitude for some line of technical work and thoroughly prepare the to specialise in that particular branch.Prospectus for girls technical education at the Ballarat School of Mines and the Ballarat Technical Art Schoolgirls education, ballarat technical girls' school, ballarat school of mines, ballarat technical art school, commercial, leatherwork, photography, ticket witing, wood carving, drawing, metal work, lithography, dressmaking, millinery, industrial design, scholarships, shorthand, typewriting, ceramics, bookbinding, french polishing, wood inlay -
Federation University Art Collection
Work on paper - Bookplate, Hart, Pro, Bookplate for Robert Littlewood by Pro Hart, 1999
Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Etched bookplate featuring ants. This is the only etched Bookplate Pro Hart created, and one of only two Ex Libris designs created by the artist. It was made in Broken Hill, New South Wales in 1999 for his friend Robert Littlewood. Printed on fine art paper in the intaglio method directly from the original copper plate. The plate was needled by the artist using a make-shift tool cut from mild steel. This Bookplate is the subject of a small Private Press book written by Professor Karal Ann Marling (retired), of the University of Minnesota, to be published by The Lytlewode Press, 2010.pro hart, ex libris, bookplate, robert littlewood, keith wingrove memorial trust, ant -
Federation University Historical Collection
Booklet, Ballarat College of Advanced Education Regional Tertiary Orientation Program Year 12 level, 1978
In 1978 the Ballarat College of Advanced Education continued to moderate the Tertiary Orientation Programs in a number of regional post-primary schools. TOP students were granted exemptions by V.U.S.E.B. Members of the moderating committee for 1978 were Ken Clements (Registrar), P. Smith (Applied Science), Roger Bodenham (Art), Pat Hope (Business), E. Jensen (Community and General Studies), R. Jacobs (Education), B. Lees (Engineering), R. Newitt (Horsham Technical School), D. Wiseman (Maryborough Technical School), G. McDonald (Stawell Technical School), Peter Shiells (Ballarat School of Mines, J. Williams (MIldura Technical School) and T. Seymour (Regional Director Representative).1) 27 page booklet with information including Regional TOP school, moderation committee, 1977 first preference Applications, assessment results, schools teaching Staff (Mildrura TS, Stawell TS, SMB, Maryborough TC, Horsham TS, Ballarat CAE, Subject descriptions. .2) Letter from Ken Clements to Peter Shiells with information regarding a meeting .3) TOP Analysis from Ballarat College of Advanced Educationtertiary orientation program, top, ken clements, p. smith, roger bodenham, pat hope, e. jensen, r. jacobs, b. lees, r. newitt, d. wiseman, g. mcdonald, peter shiells, j. williams, t. seymour, education, assessment through moderation, ballarat college of advanced education, bcae -
Kew Historical Society Inc
Archive (series) - Subject File, ALLEN, George (1900-1972), 1980
Various PartiesReference, Research, InformationKHS Imposed OrderReference file containing an article by Mavis H. Rolley, originally published in Kewriosity (vol.2, No.3, August 1980) describing George Allen’s sculpture memorialising the Second World War on the wall of what was originally the Kew City Hall, and now the Kew Library. The archive file includes Rolley’s handwritten notes that formed the basis of her article. memorials - second world war - kew (vic), kew library, kew civic hall, arthur rylah, annie anderson, ethel prendergast, official war artists (1939-1945), public art - kew (vic.)memorials - second world war - kew (vic), kew library, kew civic hall, arthur rylah, annie anderson, ethel prendergast, official war artists (1939-1945), public art - kew (vic.) -
Federation University Historical Collection
Booklet, Leader Printing Works, The Castlemaine Technical School and Trade Workshops Prospectus 1919, For Engineering, Trade and Art Students, 1919
Used at Ballarat School of Mines and Industries Ballarat. The objectives of the Castlemaine School and Trade Workshops is "to fully equip all Students in the full basic principles of Science, Engineering or Art: and from an establishment of such, to then specialise in the various branches of the same; hence it affords opportunity for investigation into Chemistry, Metallurgy, and the various avenues of Engineering Science and Art."Brown soft covered booklet with 36 pages and information on office bearers, teaching staff, objects of the school, information for parents, courses, subjects and fees.castlemaine technical school, castlemaine, technical school, prospectus, trade workshops, w.v. dam, m.t. fogarty, a.d. freeman, w. corlett, t.h. mccreery, a. verey, j. bennett, a.c. elvish, colonel j.w.b. field, reverend f.a. hagenauer, j. lowry, h.s.w. lawson, j.w.c. short, h.t. govett, j. stell, s.s. graves, f.w. adams, c.w. steiner, geo chaster, c.w. joy, e.r. lewis, s.j. ellis, e. dann, t.t. wells, j. robertson, v. henderson, f.a. moran, f. barry, j. colbert, h. payne, schools of mines, principal, registrar, science, engineering, art, chemistry, metallurgy -
Federation University Historical Collection
Booklet - Booklet - Prospectus, J. Kemp, Melbourne Junior Technical School, Prospectus, 1912
Used at Ballarat School of Mines and Industries. The Melbourne Junior Technical School opened in 1912. It was a School for Junior Technical Work in Science, Art and Trade. This Prospectus gives information about the aim of school, courses of study, scholarships, standards of admission, holidays, evening classes, regulations, rules, sports, staff, advice to students and parents, railway and tram fares and syllabuses of work. As this was the first year of the School, Staff were introduced and their previous positions were detailed. Head Master was Mr P McCormick who had been head of the Junior Technical School at the Working Men's College. The Senior Master was Mr Bruce who had also been at the Working Men's College. Mr Hauser was selected for his position at the Education Department and would be the English Master. Mr Gilmore was the Art Master and had been at the Working Men's College. Mr Lewis was appointed Mathematical Master. He was a graduate from Melbourne University. The Science Master was Mr R A White and was an instructor at the Junior Technical School, Bendigo School of Mines and Industries. As well as these members of staff there was a competent staff of assistants.Grey soft covered booklet with information about admissions, aim of the school, courses of study, enrolment, fees, scholarships, staff, syllabuses and subjectsmelbourne, melbourne junior technical school, prospectus, 1912, science, art, trades, scholarships, evening classes, syllabuses, working men's college, bendigo school of mines and industries, head master, p mccormick, senior master, mr bruce, english master, mr hauser, education department, art master, mr gilmore, mathematical master, mr lewis, melbourne university, r a white, bendigo junior technical school -
Federation University Historical Collection
Booklet - Booklet - Prospectus, McCarron, Bird and Co. Printers, Collins Street, Melbourne Junior Technical School, Prospectus, 1917
Used at Ballarat School of Mines and Industries. The Melbourne Junior Technical School opened in 1912. It was a School for Junior Technical Work in Science, Art and Trade.` Information about aim of school, constitution, council, day courses, scholarships, holidays, evening courses, regulations, rules, sports, staff, students and syllabus. The first page is a Roll of Honor. Teachers and students who have enlisted in the A I F - First World War - are named. Those who have been killed in action, died or wounded are identified. Teachers - Maj. G M Nicholas (killed in action), R Hudspeth, E Harris, K B Nelson. Students - Lieut. H D Harvey (wounded), C Ash, A Addicoate (died), W H Barkley, H A Barker, L A Baker, R B Brisbane, W Berryman, G T R Cooper (wounded), D Clarke, A H Cheetham, A Ferguson, N L Ferguson, L Falconer, J A Fontaine, E A Geach, V E Hall, A J T Hamilton, I J Lang, C Leith, T R Lydster, R Morley, Gordon W Morrison, H K McNeill, N McCormick, W McConnochie, G F Nicholson, A L Nixon, T Nesbitt ( killed in action), E S Pugh, H P Philpott, R Quirk, R Shaw, J V Shelton, G W Stevens, W H Suttie, J Stewart (died), E Sharp, F W Schultz, D N Turpie, J Tyson, H Turner (died), A Woodgate, W R White, A G Wilson, H R York. Brown soft covered booklet with crest with information on teachers, students, aim of the school, compulsory drill, council, courses, fees, hours, holidays, map of the school, roll of honor and subjects. It includes photographs of the day school students, experimental science, sheet-metal work, woodwork, science workshop, modelling, blacksmithing and a drawing of the Working Men's Collegemelbourne, melbourne junior technical school, prospectus, principal, p mccormick, senior master, w bruce, trades, c greenhill, e harris, r kinross, c juncken, a dunstan, w hudspeth, e willison, a lawson, c blacker, r dannatt, mathematics, d j morris, g w irving, miss r m lewis, english, a j hauser, g a taylor, miss k e lamrock, i taylor, science, r a white, h carr, j connellan, t e kilshaw, a thomas, art, w gilmore, j n rowell, f g blachshaw, physical culture, lieut w hudspeth -
Federation University Historical Collection
Booklet - Booklet - Syllabus, Government Technical School, Hobart, Syllabus, 1892
The Tasmanian Parliament made provision for 'the teaching of the principles of technical education' in the Education Act (1885). Regulations specifying courses of instruction and establishing a committee of Technical Education followed in 1887. The first government Technical School opened in Hobart in 1888, offering evening classes in technical art and applied mechanics. Two months later a school was established in Launceston. Small classes were also held in regional centres and Schools of Mines were established in Zeehan, Queenstown and Beaconsfield. Curricula quickly expanded to include subjects ranging from mineralogy and metallurgy to commercial economy, beginning the long tradition of directly linking the schools with the interests of business and industry. The Technical Schools largely worked independently, with varying degrees of success, until 1916 when a Commission of Inquiry recommended the integration of technical education into the state education system. The outcome was a new Technical Education Branch, formed to administer Technical Schools and Schools of Mines and to provide a structured technical education system, comprising distinct trade certificates and applied sciences, engineering and arts diploma courses. Pale orange soft covered booklet.hobart, technical school, syllabus, malcolm kennedy, a. mault, r.s. pemberton, a. morton, a.j. taylor, henry lamb, j. mcmeekin, j.h. hunt, j.r. trantham-fryer, f.g. howell, w. middleton, trevor russell, j.f. echlin, w.f. ward, archibald park, a paton miller, committee members of technical education, department of art, department of mathematics, department of engineering, department of commercial economy, department of geology mineralogy mining, department of chemistry, department of pharmacy, department of veterinary science -
Federation University Historical Collection
Article - Article - Women, Gippsland TAFE Morwell: Women of Note; Eileen Harrison, Artist and Aboriginal Elder, (1948 - )
Eileen Harrison was born in 1948 at the Lake Tyers Aboriginal Mission, Gippsland, Victoria. She lived here until she was 13. The family moved to Ararat. Eileen left school returned to Lake Tyers when she fled form her parents’ house in Ararat, and stayed with Uncle Charlie and Aunt Phyl. Eileen found that Lake Tyers had changed for the worse since her childhood, and she only stayed three months because she found this unsettling. It wasn’t until 1993 that Eileen reconnected with the education system. To provide support for her daughter Jacey, Eileen took Higher School Certificate subjects at the Macmillan TAFE College in Warragul. In retrospect, completing the TAFE course was a pivotal moment in Eileen’s life: the “beginning of something”. Eileen later studied fine arts at the Koorie Unit of the Central Gippsland TAFE in Morwell. She received her Diploma in Cultural Studies and Art in 2003, and was the Central Gippsland TAFE student of the year. Aunty Eileen Harrison is a true living treasure of Gippsland. A regular exhibitor at Gippsland Art Gallery, Aunty Eileen has inspired thousands of people through her moving coming-of-age novel 'Black Swan: A Koorie Woman’s Life' (co-written with Carolyn Landon in 2011). Aunty Eileen stresses the importance of listening deeply from the heart. Her powerful connection to her mother and grandmother, as well as the animals and land is at the heart of these works. women of note, eileen harrison, aunty, aboriginal elder, artist, lake tyers mission gippsland, ararat, higher school certificate, macmillan tafe warrigul, koorie unit, gipps, and central tafe, morwell, diploma, cultural studies and art, gippsland art gallery, novel "black swan" -
Federation University Historical Collection
Booklet, Ballarat School of Mines, Prospectus, 1905-1906, 1905
The Ballarat Technical Art School was part of the Ballarat School of MinesTwo Ballarat School of Mines Prospectuses of 16 pages. Both are the same but have different colour covers Contents includes teaching staff, school hours and subjects. It also includes an advertisement for the practical treatment of Auriferous Ores in the Ballarat School of Mines Mining Laboratory. ballarat school of mines, ballarat technical art school, design, modelling, figure drawing, fashion plate drawing, black and white illustration, wood carving, lettering, art metal work, retouching, architecture, architectural diploma, draughtsmen's courses, art teachers' courses, outdoor sketching classes, photography, building construction, architectural drawing, ticketwriting, signwriting and decorating, dressmaking, needlework, art teachers' certificate., ballarat school of mines model mine -
Eltham District Historical Society Inc
Document - Property Binder, 715 Main Road, Eltham
More than just a shop, Carolyn Rance, Diamond Valley News, Tuesday, January 28, 1986, p31 Photos: Ron Grant - Establishment of Victorian Artists Supplies at the former Kaylocks Gallery Business Card, Diane Bullen, Victorian Artists Suppliesmain road, eltham, property, 715 main road eltham, alex stitt, artists, david moore, diane bullen, hurstbridge art gallery, kaylocks gallery, montsalvat, paul williams, saskia killingbeck, the phantom treehouse (film), victorian artists supplies -
Federation University Art Collection
Work on paper - Artwork - Digital archive print, The Corry (from the series: Cake Walking in Scotland, 2015/2016), 2016
David FERRY (1957- ) Born in Blackpool, United Kingdom. David Ferry studied painting at the Camberwell Schools of Art and printmaking at the Slade School of Fine Art in London. He is currently Professor of Printmaking and Book Arts at the Cardiff School of Art, Cardiff Metropolitan University,Wales. He was Former Associate Professor of Fine Art Media, at the Long Island University, New York, USA, and former Head of Printmaking at the Winchester School of Art, UK. David Ferry was awarded a Fellowship of The Royal Society of Arts for his contribution in the foundation of the Curwen Print Study Centre in Cambridge where he became its first Artistic Director in 2003. In 2010 he was made Professor of Printmaking at the Cardiff School of Art and Design, and a full Fellow of the Royal Society of Painter / Printmakers (RE).Framed screenprint which forms part of a series called ‘Cake walking in Scotland’ which was printed 2015/16. It is a Digital Archive print with gold and silver leaf and glitter and varnish. "Upon entering a strange place, the visitor is disorientated. He looks for key markers that can act as signposts to help him find his way. These markers are taken from his past experiences, giving shape to his perceptions.’…’ Ferry was born in the seaside town of Blackpool and educated at London art colleges during the late 1970s at the height of British Punk. These early foundations continue to assert themselves in the mischievous and disruptive nature of his photomontage. He argues that early understandings of oneself, along with the characters and situations one encounters, shape our viewpoint. These act as familiar signposts that enable us to negotiate our understanding of the world. Employing what he refers to as a collage mentality, Ferry collides and layers fragments to explore his subjects.’ Writes Stephen Clarke on David Ferry’s work in ‘The Double Negative’. (htt05 April 2019)ps://www.roeandmoore.com/shop/the-corrie-by-david-ferry/, accessed One of an edition of 12.david ferry, printmaking, artist in residence, screenprint, art, artwork -
Federation University Historical Collection
Document - Document - Syllabus, Education Department, Victoria, Syllabus No. J1 (Girls), Junior Technical Schools
This syllabus for Girls provides the suggested time-allotment for subjects in Year 1, Year 2 and Year 3. The total hours for each year is 40 hours. Years 1 & 2 have classes in English - 5 hours; Social Studies which covers History and Civics and Geography - 4 hours; Art which covers Model Drawing, Plant Forms, Lettering and Geometrical Drawing - 6 hours; Needlecrafts which covers Plain and Decorative Needlework, Dressmaking, Millinery - 6 hours; Homecrafts which covers Cookery, Laundry, Housewifery - 4 hours; Horticulture or Special approved subjects - 2 hours; Sports, Physical Drill and Singing - 4 hours. Year 3 have English - 5 hours; Civics - 2 hours; Arithmetic and Elementary Bookkeeping - 4 hours; Science - 4 hours; Special approved subjects - 1 hour; Sports, Physical Drill and Singing - 4 hours giving a total of 20 hours. The remaining 20 hours will be for one of the following groups - (a) Dressmaking, (b) Millinery, (c) Art and Craft, (d) Cookery, (e) Homecrafts.21cm x 27.2cm sheet folded to 21cm x 13.7 education department, victoria, syllabus, girls, junior technical schools, time-allotment, hours per subject, english, social studies, history and civics, geography, hygiene and elementary physiology, arithmetic, science, art, model drawing, plant form, lettering, geometrical drawing, needlecrafts, plain and decorative needlework, dressmaking, millinery, homecrafts, cookery, laundry, housewifery, horticulture, sports, physical drill, singing, art and applied design, drafting, history and appreciation of art -
Flagstaff Hill Maritime Museum and Village
Print - Lithoprint
This art work is an example of an Art Deco print created through lithoprint / lithograph techniques. As a print it would have been more affordable than an original artwork and hence could be purchased by a wider cliental. Little is known about the artist, but Jean Lasalle is listed as producing another print used by Tuck & Sons in their Oilette postcard series.This item is significant socially as an example of artwork that may have been displayed in homes around the 1910s- 1930s. The Oilette logo carries significance, linking the print to a business that was influential in the early production of postcards.Unframed print on board with some framing tacks still attached to the back of the board. Print area is in fair condition. The print has been stuck to a ‘paper frame' which has been attached to the backing board. The subject of the print is a lake view, with steep mountains in the background and two female figures on a bench in the foreground in the Art Deco style. Colours are muted. The print has the artist's signature 'Jean Lasalle' (looking at the print bottom left) and the words 'Oilette' (looking at the print bottom right) with a small logo composed of an oval and square underneath.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lithoprint, lithograph, oilette, golden dawn, art deco, jean lasalle, print, day dream -
Mission to Seafarers Victoria
Painting - Oil painting, Evening on the Yarra, c. 1898
The subject is similar to John Ford Paterson's painting also called "Evening on the Yarra'. The artiste signed J. White on the left bottom corner. A mention of a painting called "Evening on the Yarra" by John Whyte (mispelling or not?) is made in The Age in 1898 about the Annual Exhibition of the Melbourne Art Club. There are different leads for the name : it could be John Goldsworthy White, an amateur marine painter, or J.S. White, a marine painter active in the 1890s and member of the Victorian Sketching Club. (or maybe a transcrit or print error and this is the same person) Marine artLarge oil painting of sailing ships at dock with smaller sailing vessels and row boats on stretched canvas in elaborate gilt Victorian frame. Unglazed Steel eyelets and hanging wire Lower front left corner: signature (possibly) J. Whitesailing ship, docks, wharves, artwork, yarra river, john white, artwork-paintings, j. white, sheds -
Merbein District Historical Society
Certificate - Proficiency Certificate
Proficiency certificate A4 certificate No 107909Front education department Victoria logo in oval with coat of arms and crown Proficiency certificate NO 107909 This is to certify that Penelope Treadwell has successfully completed the first three years of a course prescribed for post primary schools at a school approved for the purpose director of education Back the candidate has completed a course of study in the following subjects with results as indicated English pass, algebra pass, geometry pass, geography pass, general science pass agricultural science, French credit pass , German, Latin, history pass, social studies , musical appreciation, art credit pass, shorthand, home management including cookery, needle work credit pass, crafts, woodwork, metalwork, blacksmithing, mechanical drawing, physical education pass. education, penelope treadwell, proficiency certificate -
Mission to Seafarers Victoria
Article, New Light on the Light of the World
Abstract William Holman Hunt's Light of the World (1851-53) was a remarkable painting that depicted an idealised vision of his conversion to Evangelical Protestantism. The derogatory critics and fierce debates that greeted the Pre-Raphaelite paintings at Royal Academy exhibitions from 1850 in no way abated when the Light of the World and other PRB works were hung in 1854. Acceptance of the Light of the World was gradual, significantly aided by a long explanatory letter from John Ruskin published in The Times (5 May 1854 p. 9) that explained the symbolism in great detail, championing the work as the principal Pre-Raphaelite picture in the Exhbition and one of the noblest works of sacred art ever painted. Curious Londoners flocked to see it, but there was no inkling then of its influence on religious art, poetry and illustration that would continue well into the twentieth century; no less influential was its impact on stained glass. Almost immediately it was embraced as a new subject for church windows of all denominations. The global tour of Hunt's larger copy of the Light of the World reached Australia in 1906 where, preceded by clever pre-publicity, it generated huge interest in cities and country centres here and in New Zealand. The effect of the 'blockbuster' tour was far-reaching, with hundreds of stained glass windows appearing in churches across the country for the next fifty years. This paper explores William Holman Hunt's co-option of illumination as metaphor and reality, the factors behind the longevity of the Light of the World as a stained glass phenomenon in Australia, and its universal appeal to Protestant church-goers.non-fictionAbstract William Holman Hunt's Light of the World (1851-53) was a remarkable painting that depicted an idealised vision of his conversion to Evangelical Protestantism. The derogatory critics and fierce debates that greeted the Pre-Raphaelite paintings at Royal Academy exhibitions from 1850 in no way abated when the Light of the World and other PRB works were hung in 1854. Acceptance of the Light of the World was gradual, significantly aided by a long explanatory letter from John Ruskin published in The Times (5 May 1854 p. 9) that explained the symbolism in great detail, championing the work as the principal Pre-Raphaelite picture in the Exhbition and one of the noblest works of sacred art ever painted. Curious Londoners flocked to see it, but there was no inkling then of its influence on religious art, poetry and illustration that would continue well into the twentieth century; no less influential was its impact on stained glass. Almost immediately it was embraced as a new subject for church windows of all denominations. The global tour of Hunt's larger copy of the Light of the World reached Australia in 1906 where, preceded by clever pre-publicity, it generated huge interest in cities and country centres here and in New Zealand. The effect of the 'blockbuster' tour was far-reaching, with hundreds of stained glass windows appearing in churches across the country for the next fifty years. This paper explores William Holman Hunt's co-option of illumination as metaphor and reality, the factors behind the longevity of the Light of the World as a stained glass phenomenon in Australia, and its universal appeal to Protestant church-goers.jesus, stained glass windows, bronwyn hughes, pre-raphaelite, william holman hunt (1827-1910) -
Eltham District Historical Society Inc
Document - Property Binder, 725 Main Road, Eltham
Photocopy (A4): Map hand drawn by Peter Grier, brother to Wendy Wilson, commissioned by jeweler, Michael Wilson showing his business 'Eltham Goldsmithery' c.1979-1981. Newspaper article: Art and design venue, Diamond Valley News, August 14, 1996, p14 where it is announced that the business has been approved as an outlet for Italian design house Alessi. In same article a reference to an exhibition by the deceased 'Twenty Melbourne Painters' hanging at the Victorian Artists Society Gallery and former and present day connections with Eltham area including Angela Abbott, Peter Glass, Alan Martin, Lesley Martin, Max Meldrum, Percy Leason, Alice Bale, Walter Withers, Margery Withers, Richard Mccann. (On p13 letters to the Editor about protesting against inappropriate development and the Commissioners plans for future elected Nillumbik Council structural representation). Advertisement 19 June 2013, Michael Wilson diamond jewellers. Advertising flier 23 November 2020, Michael Wilson.main road, eltham, property, houses, shops, businesses, michael wilson jewellers, peter grier, map, eltham goldsmithery, artisans minting, cafe de chin, diamond valley railway, eltham barrel, eltham clinic, eltham collegeeltham hotel, eltham community centre, eltham gallery, eltham railway station, eltham shopping centre, eltham town park, gallery 4, john mills pottery, living and learning centre, montsalvatcountry arts store, once upon a time land, shillinglaw cottagewiregrass gallery, wingrove park, michael wilson diamond jewellers