Showing 1458 items
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South Gippsland Shire Council
Table, Low, 1999
Redgum low table with bookmatched ends. Features a slatted shelf underneath. -
Brighton Historical Society
Shoes, circa 1880s - mid 20th century
A pair of shoes worn by a Presentation nun at Star of the Sea Convent, Gardenvale. The history of the shoes is unknown; nuns working in the convent's archive found them stored among convent records, and subsequently donated them to Brighton Historical Society. The Presentation Sisters, a Catholic order originating from Ireland, founded the Star of the Sea Convent in Gardenvale in 1883. Led by Mother Paul Fay and Mother John Byrne, they established a convent and school in a house called Turret Lodge, on the site of the present Star of the Sea College in Martin Street. The order and the school remain active in Brighton today. Foy & Gibson was one of Australia's earliest department store chains. Based in Collingwood, from 1883 until the mid-twentieth century they manufactured and sold a large range of goods, including clothing, manchester, leather goods, soft furnishings, furniture, hardware and food.Pair of black leather women's lace-up shoes with a low heel.Interior label: "COMFORT / FOY & GIBSON PTY LTD / COLLINGWOOD"shoes, nuns, foy & gibson, presentation sisters, star of the sea convent -
Warrnambool RSL Sub Branch
Book, BOOK: Jane's Fighting Ships 1953-54
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Warrnambool RSL Sub Branch
Book, BOOK: Jane's Fighting Ships 1954-55
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Federation University Historical Collection
Photograph, Ted Oppy, Evan Walker and John Sharpham
Evan Walker visited Ballarat to discuss amalgamation proposals.Ted Oppy, Evan Walker and John Sharpham seated around a low tableted oppy, evan walker and john sharpham, john sharpham, amalgamations -
Federation University Historical Collection
Photograph, Robert Greig and Colin Dowzek, c2000
Colin Dowzek was the Chief Judge at the Australian National Beer Awards. Ted Oppy, Evan Walker and John Sharpham seated around a low tableaustralian national beer awards, colin dowzek, robert greig, brewing -
Federation University Historical Collection
Photograph, Derek Woolley, Sir Zelman Cowan and Bill Pryor, 10/04/1993
Sir Zelman Cowan visited Ballarat University College when hosting a group of Chenobyl childrenTed Oppy, Evan Walker and John Sharpham seated around a low tablederek woolley, zelman cowan, bill pryor, chenobyl, visitor -
Phillip Island and District Historical Society Inc.
Sepia Photograph, 1920's
This album was presented to the Earl of Stradbroke by the Fathers of Soldiers & Returned Soldiers 16/2/1923. Photo of the rocks at Kitty Millers Bay, Phillip IslandPhotograph of the rocks on the shore at Kitty Millers Bay, Phillip Island, at low tide. Rose Series P 3429. Kitty Miller's Bay, Cowes, Phillip Is., Vic.phillip island, kitty millers bay, earl of stradbroke -
Phillip Island and District Historical Society Inc.
Photograph, Phillip Island Bridge, 1968/9
1969 Bridge construction showing Suspension Bridge in background.Girders on partly built Bridge. Crane in background - close-up at low tide.local history, photographs, civil engineering, bridges, phillip island bridge (1969), black & white photograph, jack jenner collection, phillip island bridges, public construction -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Photograph, Light Horsemen, 1915/17
A black & white photo of 9 mounted Light Horsemen in front of a low tentphoto, light horse, ww1 -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, M Holding, 1/11/1989 12:00:00 AM
Colour photograph of Mitchell River and low bank approaching Eagle Point Victoriajetties, waterways -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Porcelain Turtle' by Paul Greenway, 1980, 1977
Paul GREENWAY (1955 - ) Born Wagga Wagga, New South Wales Paul Greenway was a visiting lecturer at Gippsland Centre of Art and Design (GCAD) c 1977 This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Handbuilt porcelain with multi-fired low tempreture lustres and enamels. Gift of the artist. jan feder memorial ceramics collection, ceramics, gippsland campus, turtle, paul greenway -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Photograph - Framed photo finish, Greg Matthews Photo, Captain Rufus, 23 January 1998
Captain Rufus won the Bendigo Pacing Cup on the 23 January 1998, followed by Skipper Trust and Low Bronze. Captain Rufus owned by A Gannell, H Manolitis, KR Hyslop & GJ Carey, was trained and driven by Ted Demmler. Captain Rufus raced from 1996 (3yo) through to 2001 (8yo). Career: 17 wins 13 seconds 18 thirds 85 starts.Two colour photographs, one small one large in a brown, black, gold frame. At the top: Bendigo Harness Racing 23-1-98/ The Sulky Shop Bendigo Pacing Cup At the bottom: Left corner: Distance 2385 metres/ Mile rate 2.00.1 / Greg Matthews Photos - Stawell Centre: Captain Rufus (Sokys Atom - Hurricane Mark) / Skipper Trust 2nd / Low Bronze 3rd Right corner: Owned by- A Gannell, H Manolitis, KR Hyslop & GJ Carey/ Trained and driven by Ted Demmlerbendigo harness racing club, horses, race, winner, bendigo trotting club, pacing cup, driver, trainer, owner, 1998, captain rufus, ted demmler, a gannell, h manolitis, kr hyslop, gj carey, skipper trust, low bronze, te demmler, t demmler -
Coal Creek Community Park & Museum
Thermometer
8643.1 - Glass thermometer with metal holder and measurements.- C. A. M. E. O. - 90 - Low - 100 - 103 - 105 - High - 110 -
Nillumbik Shire Council
Painting: Adriane Strampp (b.1960 Wisconsin, USA), Adriane Strampp, Into the Night, 1987
Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp -
Nillumbik Shire Council
Print (etching, acquatint, stencil): Jock CLUTTERBUCK (b.1945), Jock Clutterbuck, ‘Frosty Night Cartouche’ from 'The Baldessin & Friends' commemorative folio, 2016
Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols -
Ringwood and District Historical Society
Photograph, Heathmont Guides - Guide camp -Clifford Park,Wonga Park
Black and white photograph showing guides sitting and standing around low table outdoors."Written on back of photo" Guide camp-Clifford Park,Wonga Park. Heathmont Guides -
Phillip Island and District Historical Society Inc.
Photograph, Newhaven, 1980s
Two coloured photographs of Newhaven and bridge and at low tide, looking towards San Remo.newhaven, phillip island bridge, coastal waters -
Phillip Island and District Historical Society Inc.
Photograph, Genista calling at Rhyll c1900, ?
S.S. Genista - built in 1886, Sydney. Western Port Ferry from 1889 to early 1930'sS.S. Genista calling at Rhyll - c.1900 Low tide, sand and mud in foreground.S.S. Genista calling at Rhylllocal history, photographs, transport, shipping, maritime technology, boats, phillip island shipping, ferries, black & white photograph, phillip island, western port, ferry - genista -
Phillip Island and District Historical Society Inc.
Photograph, 1968
Part of an album compiled and donated by Mrs Helen Jansson. Second Phillip Island Bridge built 1968/69.Bridge viewed from sea level at low tide, showing cranes at middle right.local history, photography, photographs, slides, film, civil engineering, bridges, phillip island bridges, black & white photograph, mrs helen jansson, phillip island bridge -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Battery Point, Portland, c. 1983
Glenelg Shire Council records. Built on land gazetted for defence purposes in the 1840s, Portland Battery was constructed in 1889 to defend Victoria against the feared Russian invasion. Batteries were also constructed at Warrnambool and Port Fairy during this period. The Battery comprises a magazine, upper chamber, a parapet wall, and three gun emplacements. In 1984 the Battery underwent a major restoration. The underground magazine and lamp passage are currently not accessible to the public.Picture of Cannon, Low Moore 68 lb, 1861, Battery Point, South Portland.portland battery, cannon, munition, fortifications, magazine, 1800s -
Red Cliffs Military Museum
POW Camp Money, POW 5 Lira Camp Money, (estimated); 1942-1945
Part of a collection of POW items by VX8007 A.J. Roddy, Ammo Coy, A.A.S.C. 6 Division, POW in Greece CampaignLow Grade paper with printed information, for use in Italian POW Camp. Has N6544 on it. Prigionieri Di Guerra/ Buono fiduciano da L.5/ Valevole soltanto Nell' interno del cmpo di concentramento/ N. 6544 / Lire Cinqueww11, pow, italian, camp money, 5 lira, a j roddy -
Churchill Island Heritage Farm
Photograph - Photograph of group seated around table
Churchill Island Heritage Farm has a large collection of photographs dating from the nineteenth century.Photograph of group of eight adults seated around a low table with souvenirs visible in the backgroundcatalogue number written on reverse in pencilchurchill island, photograph -
Churchill Island Heritage Farm
Photograph - Photograph of a shoreline, Unknown
Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.Black and white photograph with a white border showing a shoreline at low tide with mudflats and rocks.Catalogue number written in pencil on reverse.churchill island -
Churchill Island Heritage Farm
Photograph - Photograph of shoreline at low tide
Churchill Island has a significant photograph collection dating from the nineteenth century.Black and white landscape photograph of shoreline at low tide with mudflats and the mainland visible in the backgroundchurchill island -
Sunbury Family History and Heritage Society Inc.
Photograph
The grave is in Sunbury Cemetery and belongs to Margaret Baker.A black and white photograph of a headstone in a cemetery. The grave is surrounded with a low decorative iron fence..baker, margaret., sunbury, sunbury cemetery -
Kew Historical Society Inc
Photograph - Flooding of the Yarra Valley at Kew East, 1974
Flooding of the Yarra Valley, including that section of the Yarra bordering Kew and Kew East in the north and west of the municipality, was a regular occurrence. Extreme flood events of the Yarra River are recorded to have occurred in 1891, 1901, 1916, 1923 and 1934. The Municipality of Kew's response to these floods was to enact planning decisions restricting residential development in flood prone areas following the floods of 1916, 1921 and 1934. While floods continued after the development of the Upper Yarra Reservoir (construction 1948-57), the regularity and extent of these inundations diminished. During the nineteenth century, the land abutting the south side of the Yarra in Kew was devoted to dairy farming. In the twentieth century, before and after the construction of the Eastern Freeway, much of this low-lying area was used as golf courses and public parks.Late example of the capacity of the Yarra Valley at Kew to flood, even though drainage works and the Upper Yarra Reservoir had reduced their regularity.Original black and white print photograph of the low-lying land at East Kew under floodwater on 16 May 1974. The vantage point of the photographer is Lister Street. In the photo, the fences of the Kilby Farm can be seen. Flooding was caused by overflowing water in Glass' Creek and the River Yarra. Annotation verso: "Hay's Paddock op No.30 Lister Street / 16 May 1974 11.50am / R.L. 46.04"hays paddock, floods, yarra river, glass' creek, lister street -
City of Kingston
Photograph - Black and white, c.1973
This photograph shows the interior of a libraryBlack and white photograph of a library interior showing low bookshelves containing picture books, a chair and desk covered in books and stationery. A low wall surrounds the area, on top of which are balanced tall stacks of books with spines facing inwards.library, libraries -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media