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St Kilda Historical Society
Photograph, St Kilda Esplanade Market 1970s - images collection, c. 1970s (market commenced in 1970)
The St Kilda Esplanade Market has been operating on Sundays since December 1970. Initially known as The Art Bank, and displaying works by 20 or so artists, it soon expanded to include works by potters, leatherworkers and other craftspeople. In 2016 food vendors were added. Over the years the Market has fluctuated in size to more than 250 stalls. Colour photograph unmountedAbout 1960 1970?st kilda, st kilda market, st kilda sunday market, esplanade market, st kilda art bank -
St Kilda Historical Society
Ephemera - Seasonal card, Longstaff, Will et al, Australian Comforts Fund Xmas and New Year's Greetings 1918-19, 1918
Text from card: 'On the night of 24th April 1918, the Australians made a daring and clever counter attack in the darkness, recaptured Villers-Bretonneux, stopped the German advance and saved Armiens. This, and the Battle of Hamei, were only a prelude to the smashing advance which commenced on 8th August.' Contains illustrations of 'Australians Advancing from Villers-Bretonneux, August 8th 1918' from an original painted by AIF War Artist Captain Will Longstaff; 'Capture of Hamei Village, July 14th 1918, by Australians assisted by a Detachment of Americans' by War Artist A Pearse. Both paintings were made for the Australian Comforts Fund. The Australian Comforts Fund was an umbrella organisation for voluntary bodies set up on 24 August 1916, after the outbreak of World War I. It was dissolved on 16 April 1920 but was re-established in 1940, during World War II and dissolved again in 1946. Card made in England by Raphael Tuck & Sons Ltd, publishers to the King and Queen. Oblong sheet folded in half to create 4 pages, all printed in colour and including illustrations and very full documentation.'Graham Clarendon Hyde 14 Btn AIF' 'Given to Historical Society of St Kilda by Mr G Hyde N Zealand August 1980'aif, world war i, wwi, australian comforts fund, 14th battalion aif, villers-bretonneux, battle of hamei -
St Kilda Historical Society
Ephemera - Concert program, Grand Tableaux Programme, 1915
An example of tableaux drama. Ten 'scenes from the Empire' were presented: King Alfred Disguised as a Harper in the Camp of the Danes'; 'The Signing of the Magna Carta'; 'Queen Elizabeth Knighting Drake on the Deck of the "Golden Hind"' etc. Contains details of Executive of the Victorian Artists' Society and the St Kilda Executive Committee. Under the patronage and in the presence of, among others, the Governor of Victoria, the Lord Mayor of Melbourne and Madame Melba. To raise funds 'to provide an Ambulance for the Australian Wounded'.Yellowed cream cardboard, printed in black and gold, folded in half to form the cover. Inside two sheets of paper, printed in black and red and folded to make four pages, are fastened to the cover by stitched red string.wwi, world war i, victorian artists' society, wwi fund-raising -
Tatura Irrigation & Wartime Camps Museum
Functional object - Dolls Pram, 1941
The pram was made by Otto Gottlieb, for his daughter Ruth's fifth birthday. Otto and family were internees in camp 3. Artwork by unknown artist. Originally had a hood but this is missing.Timber pram on metal rectangular "Wheels". Red metal handles. Sides are painted grey and trimmed in red. Hand painted animals, sea creatures, boats and a lighthouse. otto gottlieb, ruth gottlieb, internment camp wood work -
Tatura Irrigation & Wartime Camps Museum
Postcard - Post Card, Cesare Vagarini, Country Road, 1991
POW Camp 13 artist. Original owned by Gustav Polig New York USA. Used for post card. In 1943 an agreement was reached to allow POW's to send air mail. Fee was 6 pence for a card, 1 shilling for a letter of which were censored.Coloured photograph country road. Post cardPOW Mailww2 artists, camp 13 -
Tatura Irrigation & Wartime Camps Museum
Photograph
Camp stores carried a supply of stamps to be paid for by money tokens in lieu of money. POW's were forbidden to have. Originals owned by Gustav Polig.Photograph of camp tokens (coins)ww2 artists, camp 13, gustav polig, internment camp currency -
Tatura Irrigation & Wartime Camps Museum
Photograph
Painting of early camp life while huts were being erected. Artist Klober, during his stay at Camp 13 during WW2. Photograph of coloured paintings of tents with large gum trees in the backgroundww2 artists, camp 13 tatura, klober, early camp life -
Tatura Irrigation & Wartime Camps Museum
Photograph
Dolls furniture made by Max Frank, in Palestine, for his daughter Else. The Frank family were interned at Camp 3, Tatura. The original furniture is on display at Tatura Museum. Coloured photo of dolls furnitureww2 artists, camp 13 tatura, temple society, max frank -
Tatura Irrigation & Wartime Camps Museum
Photograph, 22 September 1991
Photos of the opening ceremony at the Tatura Museum, in conjunction with 50th Anniversary, of the Temple Society in Australia. Sister Beatrice Moore nursed at Camp 3 during WW2 and was invited by Tatura and District Historical Society to officially open their new buildings and display on POW and Internment Camps, on 22 September 1991. Present were Council president Andrew Crawford, Dieter Ruff and members of the Temple Society and members of the Historical Society.Coloured photos (3) 1 - official opening by Beatrice Moore, 22 September 1991; 2 - Dieter Ruff, Temple Society, official representative; 3 - Lurline Knee receiving her life membership from Historical Society President Ron Donaldson.ww2 artists, camp 13 tatura, temple society, sister beatrice moore, dieter ruff, lurline knee, life membership -
Tatura Irrigation & Wartime Camps Museum
Photograph, Wilhelm and Johanna Kuebler
Wedding photograph of Wilhelm Kuebler and his first wife Johanna Kaltenbach. They were both internees in Camp 3 at Rushworth during WW2.Black and white photograph of a man and woman posing in front of a backdrop of trees and shrubs. Lady dressed in long white dress and man in long jacket and suit pants. Photograph has been laminated.Wedding photo: Artist Wilhelm Kuebler and his first wife Johanna Kaltenbach. Computer image created by Horst Blaich, Bayswater 3153. Tel.: (03) 9720 2658 October 2001 round emblem underneath with side on head. Around the edge: Albert Blaich Family Archive 1970-2000wilhelm kuebler, johanna kaltenbach, johanna kuebler, camp 3 rushworth -
Tatura Irrigation & Wartime Camps Museum
Photograph, The Bush Pilot - Peter Mueller
The sketch was drawn byartist Hans von Gruenewaldt. The pilot is Peter Mueller, a Luftwaffe navigator/bomber in North Africa in WW2. Both men were POW's in Camp 13 during WW2. Colour photograph copy of a sketch (on foam backing) of a grey haired man wearing a brown wool lined flight jacket with wool collar. He is holding a pipe in his mouth. 3 stripes (sergeant) on his sleeve.hans von gruenewaldt, camp 13 artists, camp 13 internees, peter mueller -
Tatura Irrigation & Wartime Camps Museum
Photograph, Custodian Krach - Peter Mueller
The sketch was drawn by artist Hans von Gruenewaldt. The sketch depicts Peter Mueller acting in the role of Custodian Krach in Hosterhaus, a play put on in camp 13. Both men were POW's in Camp 13 during WW2. Colour photograph copy of a sketch (on foam backing) of a red haired man wearing a white jacket which has double lines running down and a single line across. He has a red scarf tied around his neck and a red vest with 6 buttons. He has his thumbs in his armholes and fist closed. Trousers are white with black stripes running vertically. Standing behind a corner shaped wooden divider with 6 uprights. A black top hat on his head.hans von gruenewaldt, camp 13 artists, camp 13 internees, peter mueller -
City of Ballarat
Artwork, other - Public Artwork, Joe Pratt et al, Hidden Waterway, 2016
To create 'Hidden waterway' (2016) Artist Forest Keegel held workshops with the people of Ballarat East who drew images in the park of threatened local fauna and waterbugs that once inhabited this land. Those images were then translated into carvings by sculptor Joe Pratt across 20 boulders creating a trail throughout the park. The artwork is of aesthetic and social significance to the people of Ballarat20 bluestone boulders with carvings across the surface creating a trail throughout the park forest keegel, joe pratt, ballarat east, pennyweight park -
City of Ballarat
Artwork, other - Public Artwork, Adam Lindsay Gordon Memorial, 1969
The bronze statue of a horse commemorates poet and horseman Adam Lindsay Gordon and the horses and mules killed during WWI. The statue depicts a horse going into battle known as a 'charger' mounted on a base of Warrenheip granite. During World War II the artist, Raymond Ewers was made an official war artist with the rank of lieutenant. Funds were raised from visitors to the Adam Lindsay Gordon cottage for the artwork which was unveiled on the centenary of the poet's arrival in Ballarat. Adam Lindsay Gordon the English born Australian poet spent some time in Ballarat, at one stage owning and running Craig's Stables in the city. He was not a very good businessman and his ventures left him in financial ruin. However his ballads and poems were recognized around the world as strong lines that told the story of the Australian bush. He is the only Australian Poet to be memorialized in Westminster Abbey, UK. The Queen quoted his work in 1992 Queens message..."Kindness in another's trouble, courage in one's own.."The artwork is of historic and aesthetic significance to the people of BallaratBronze horse on granite plinthERECTED BY/ THE ADAM LINDSAY GORDON SOCIETY/ TO MARK THE CENTENARY OF/ THE POET'S LIVING IN BALLAARAT,/ ALSO AS A MEMORIAL TO THE 958,600 HORSES AND MULES/ KILLED IN THE FIRST WORLD WAR/ INCLUDING 196,000/ THAT LEFT THESE SHORES NEVR TO RETURN./ "THE LAY OF THE LAST CHARGER"/ FORWARD, THE TRUMPETS WERE SOUNDING THE CHARGE./ THE ROLL OF THE KETTLEDRUM RAPIDLY RAN/ THAT MUSIC, LIKE WILDFIRE SPREADING AT LARGE/ MADDEN'D THE WAR HORSE AS WELL AS THE MAN./ WHERE ARE THEY? THE WAR-STEEDS WHO SHARED IN OUR GLORY/ THE "LANERCOST" COLT AND THE "ACROBAT" MARE,/ AND THE IRISH DIVISION "KATE KEARNEY" AND "RORY" AND RUSHING "ROSCOMMON" AND EAGER "KILDARE"./ WE TOO, SPRUNG FROM THE LOINS OF ISHMAELITE STALLIONS,/ THE RENDERING OF BLACKTHORNS AND RATTLE OF RAILS./ AND WHAT THEN? THE COLOURS REVERSED, THE DRUMS, MUFFLED/ THE BACK NODDING PLUMES, THE DEAD MARCH AND THE PALL/ THE STERN FACES, SOLDIER-LIKE SILENT UNRUFFLED,/ THE SLOW SACRED MUSIC THAT FLOATS OVER ALL/ BY A.L. GORDON/ UNVEILED BY/ HIS WORSHIP THE MAYOR OF BALLAARAT,/ CR. M.J.BROWN/ 1969/ PRESIDENT CR.W.E.ROOF C.B.E. SECRETARY P. ABSOY. ESQ.horse statue, adam lindsay gordon horse statue -
Wangaratta RSL Sub Branch
Poster, Join the AIF: This is serious!, c. 1939-1942
Australian Commonwealth Military Forces Second World War recruitment poster. Released in 1941 before Japan had entered the war, at a time when many Australians were reluctant to enlist to fight on the other side of the world. James Northfield (1887 - 1973) was an Australian graphic artist active from the 1910s through to the 1960s .Northfield created a series of patriotic posters during World War IIDepicts a man donning a uniform, rifle in one hand, his civilian clothes lie in heap on the ground behind him.Full text; Join the AIF: This is serious! Enlist Nowrecruitment poster, ww2, james northfield -
Tatura Irrigation & Wartime Camps Museum
Photo
Ken Hill was a member of the Australian Army Amenities Service - AAAS Mobil Cinema Unit No. 36 around 1946-47. He was based at Murchison Camp 13 where Josef Thum, an artist, was a Prisoner of War. Hill was a Mobile Cinema Operator during this period, after hostilities had ceased and Thum was permitted to assist in the presentation of "Pictures", to use the common term of the period, each time pictures were screened.Black and white photo of an army truck which was used by Australian Army Amenities Service around 1946/47 which was based at Murchison Camp 13photography, photograph, slides, film -
Uniting Church Archives - Synod of Victoria
Booklet, Proposed Methodist Peace Memorial Homes for Children
Orana, the Peace Memorial Homes for Children, were established in 1953 in Burwood. This booklet is to raise money for one cottage by Sunday Schools.Beige booklet with an artist's painting of the proposed Methodist Peace Memorial Homes for Children on the front. The booklet contains perforated pages with "Methodist Peace Memorial Brick 1/-" in red text. methodist peace memorial homes for children, methodist sunday schools -
Hepburn Shire Council Art and Heritage Collection
Public Art Work, Petrus Spronk, 'Silent/Listen Listen/Silent' - Petrus Spronk. 2001, 2001
This work was first commissioned by the Melbourne city council as part of a celebration of the opening of the Birrarung Marr park. 25 victorian sculptors were given $2,500.00 to create a work which would be part of the park for about 6 months. Date of manufacture and installation: 2002 'Silent/Listen' was gifted by the artist, Petrus Spronk, to the people of Hepburn Springs in July 2001.Two smooth rectangular engraved granite slabs placed directly on the ground. Each granite stone is engraved on its uppermost surface. The left hand work is engraved with the text - 'silent' and the right hand work is engraved with 'listen'. Unsigned. Dated July 2001 petrus spronk, public art, sculpture, environmental art, hepburn shire public art collection, hepburn shire, listen, silent, hepburn springs mineral reserve, granite -
Victorian Aboriginal Corporation for Languages
Book, Ann E Wells, This their dreaming : legends of the panels of Aboriginal art in the Yirrkala Church, 1971
Some time before the end of the year 1962, two great panels of Aboriginal art were begun. They were painted for part of a screen placed behind the Communion table in the Yirrkala church, and represented the two main, creative legends governing the lives, the behaviour and the ritual of the Aborigines belonging to a wide area of northeast Arnhem Land. Gives a brief outline of circumstances surrounding the panels. Lists the artists for each moiety. Maps show the territory of the people mentioned in the text. For each panel, there is a description of each section and an explanation of associated myths. Dua panel - the Djankawu journeys. Yiritja panel - legend of Banaitja. Glossary of terms.b&w art reproductionsyirrkala, yirrkala church, arnhem land -
Villa Alba Museum
Postcard - Jonquils, Dado Panel, Upper Hall, Villa Alba, Suzie Dickson, 1990-2010
The Villa Alba Restoration Fund was established by the Villa Alba Preservation Committee. As part of a fundraising activity, they commissioned Suzie Dickson to photograph six panels in the Upper Hall that had been uncovered to date by conservators. The dado panels extend along the entire upper hall. Many are still to be restored. These images were used to create a series of six large postcards. Jonquils - No. 1 in a series of postcards of the dado panels to the Upper Hall, Villa Alba Museum, Kew.villa alba museum - kew (vic), interior design - 19th century, paterson brothers - decorators - melbourne, signor rizzi - artist, villa alba preservation committee -
Creswick Campus Historical Collection - University of Melbourne
Artwork, other - Lithograph, Eucalyptus Leucoxylon Artist Rosa Fiveash (c1880), Eucalyptus Leucoxylon, 1882-1890
Eucalyptus Leucoxylon. Eucalyptus Leucoxylon var. pauperita (Mueller). The Scrubby Blue Gum C1880. Artist- Rosa Fiveash (1854 � 1938). Drawn on stone by H.B. (H. Barratt) Lithographed by E. Spillar. Lithograph printed in colour, from multiple stones on paper. Mounted in wooden frame with Acorn engraved motif.Early museum photographs. Documents from Parks Victoria.. In 1882 Rosa was invited to illustrate The Forest Flora of South Australia by John Ednie Brown. Nine parts of this work, which was never completed, were published in 1882-90. Each one contained five attractive lithographs of native plants and Rosa drew 32 of the 45 published; they were drawn as specimens came to hand, in no particular botanical order. http://adb.anu.edu.au/biography/fiveash-rosa-catherine-6184Lithograph -
Creswick Campus Historical Collection - University of Melbourne
Artwork, other - Lithograph, Acacia Longifolia (c1880) Artist, Rosa Fiveash, Acacia Longifolia, 1882-1890
Acacia Longifolia (Willdenow) (Labillardiere). The Maritime long-leaved Wattle C1880. Artist- Rosa Fiveash (1854 � 1938). Drawn on stone by H.B. (H. Barratt) Lithographed by E. Spillar. Lithograph printed in colour, from multiple stones on paper. Mounted in wooden frame with Acorn engraved motif.Early museum photographs. Documents from Parks Victoria.. In 1882 Rosa was invited to illustrate The Forest Flora of South Australia by John Ednie Brown. Nine parts of this work, which was never completed, were published in 1882-90. Each one contained five attractive lithographs of native plants and Rosa drew 32 of the 45 published; they were drawn as specimens came to hand, in no particular botanical order(second. http://adb.anu.edu.au/biography/fiveash-rosa-catherine-6184Lithograph -
Ballarat Base Hospital Trained Nurses League
Midwifery Windcheater - "Midwifery Team, BBH, We Deliver" - early to mid 1980's, plus Courier newspaper - new Director of Nursing, Lorraine Broad, 1995
Windcheater which the midwives in old E1 had made and were sold to staff to fund raise. Some proceeds were to assist midwives attend state conferences. Other fundraising activities were also undertaken at that time to modify the stark hospital environment of E1 to a more homely environment. Graphic artist and seamstress, Geraldine Roberts of Wendouree, made the windcheaters as well as screen printed the logo which the staff designed. Geraldine also did the graphics for an educational booklet the staff produced for expectant parents. These activities were initiated by the enthusiastic staff of E1 during the early to mid 1980s."Midwifery Team, BBH, We Deliver"midwifery, 1980s, windcheater, logo, courier, new, director of nursing, broad, 1995 -
Melbourne Athenaeum Archives
Reproduction of theatre program, W H Williams, MR W R Furlong Pupils' Ninth Concert (Music performance) performed by Mr Furlongs pupils with assistance from Mr F L King, Madame V Pett , Miss Nellie Pett and Miss Bessie Gledhill (pupil F L King) at the Athenaeum Hall in 1876, 1876
Copy of broadside held by the National Library of AustraliaMany music concerts were performed at the Melbourne Athenaeum. This one featured the pupils of Mr W.R Furlong, assisted by other artists.Copy of paper program for a concert performed at the Athenaeum Hall Thursday October 19 1876.athenaeum theatre, program, programme, furlong, f.l. king, madame v pett, miss nellie pett, miss bessie gledhill, chilperic, 1876 -
Wangaratta Art Gallery
Print, Arthur Willmore et al, The Old & New Home Stations, Victoria (Bontharambo, Wangaratta), 1873-1876
This etching by British engraver Arthur Willmore was created from Russian born artist Nicholas Chevalier’s original watercolour landscape of Bontharambo, Wangaratta (Chevalier’s watercolour is held in the collection of the National Library of Australia). Chevalier moved to Australia during the Colonial period and is famous for his landscape paintings, which were most commonly commissioned by wealthy landowners or merchants wanting to record their material success. Bontharambo is a historic property located in Wangaratta which was made famous by pastoralist Joseph Docker who took up the Bontharambo run in 1838 and has remained in the family since. The historic homestead on the property was built between 1857-1859 and was designed by architect Thomas Watts.ColonialWangaratta Art Gallery CollectionA rectangular landscape etching of the homes on Bontharambo station printed in black ink on off-white paper.Obverse: N. Chevalier/ A. Willmore/ THE OLD & NEW HOME STATIONSwangaratta art gallery, arthur willmore, nicholas chevalier, bontharambo, wangaratta -
National Wool Museum
Illustration
Each illustration is of a scene inside the Dennys Lascelles Building in the early days of its use as the National Wool Museum. The artists were members of the CEP Project.CEP P3oject/ Drawings and watercolours/ of/ Dennys Lascelleswool stores -
The 69 Collective
Video Art, Jenny Gibson, Lineage - An Oral History of 69 Smith Street Gallery
This work is the result of a series of interviews with committee members of 69 Smith Street Gallery, an artist-run gallery that operated in Collingwood between 1998 and 2016. These interviews taken between 2010 and 2011 feature artists who went on to form the creative group known as the 69 Collective.This work was part of The Line exhibition at Collingwood Gallery in 2018. The brief given to participating artists was to present works using the theme of the horizontal line. The artworks, in a range of mediums, were hung with a consistent line travelling through each piece around the perimeter of the gallery space. The line in each work, inferred or explicit, were carefully placed together to make this cohesive whole.oral history, video, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, merle parker, julian di martino, marianne little, 69 collective, jenny gibson, art, video art -
Buda Historic Home & Garden Castlemaine
Print - Linocut print, Tasmanian Berries, c 1928
Owned by the Leviny family. Collected by Kate Leviny. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.This original print by Australian woman artist, Mildred Lovett, is from a period in Australia's history when women artists and printmakers were gaining recognition for their work that had been a previously been an area dominated by male artists.Hand coloured linocut of a jug full of assorted berries, mounted in a frame. By Tasmanian artist, Mildred Lovett. Paper, ink, paint.Lower left corner 'Tasmanian berries'. Lower centre 'coloured linocut'. Lower right 'M. Lovett'. Verso '44' encircledmildred lovett, tasmania, linocut print, tasmanian berries, australian women printmakers, leviny collection, buda, castlemaine -
Buda Historic Home & Garden Castlemaine
Linocut print, Hydrangeas, c 1925
Acquired by Kate Leviny. The Leviny daughters were friends with Ursula Ridley Walker. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.Ursula Ridley Walker is a little know Australian woman artist who was working in many artistic fields during the first part of the twentieth century. Buda holds the largest public collection of Walker's work in Australia.Print by Tasmanian woman artist, Ursula Ridley Walker, depicting blue hydrangeas in a dark blue jug with a green octagonal plate in the background. Mounted and framedLower left: 'Hydrangeas' Lower centre: '- Coloured Lino Cut -'. Lower right: 'Ridley Walker 5/50'.ridley walker, linocut print, australian women printmakers, hydrangeas, leviny collection, buda, castlemaine, 1925, ursula ridley walker, tasmanian artist -
National Wool Museum
Sculpture - Bollard, Jan Mitchell, The Lost Bollards, 1999
Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell