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Federation University Art Collection
Artwork-Ceramic, (Untitled) Lidded Vessel
This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Wheel thrown lidded vessel. Decorative glazed. Artist unknown. art, artwork -
Federation University Art Collection
Ceramic, Gladys Reynell et al, Blue Bowl By Osrey, 1923
Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay -
Beechworth RSL Sub-Branch
Memorabilia - Ashtray - trench art
Item acquired by Pte B.A. Bistrow 5848 6th London Regiment during war service in France during WWIA ashtray made from the bottom part of 100 mm artillery shell; there are three groves spaced at equal distance on the rim of ashtray' small arm cartridge shell is soldered to internal primer house of the artillery shell ; on the shell rim there are three files groves that may be considered decorative with radiating file marks on side of the ashtray assumed to had been made when filing the groves on the shell rim.marking relating the artillery shell around the base are; 18 Pr II (roman numerals for 2) clockwise from that are; LOT 193; B5; CF - 7/16; abd EWBC -
Bass Coast Shire Council - Art Collection
Decorative object - Harmony Bells, Anton Hasel
Australia4 x BellsSigned -
Mont De Lancey
Book, Odhams Press Ltd, The World's Greatest Paintings - Volumes 1,2,3, c. 1934
This work is published in three volumes containing one hundred fine colour plates of well-known pictures from many lands for the general public to enjoy. In addition to the plates there is a brief account of the life and times of each master represented avoiding all discussion of technical matter as far as possible.Three Volumes of The World's Greatest Paintings - Selected Masterpieces of Famous Art Galleries. Large format blue hardcovers with a decorative embossed front cover with an ancient Greek or Roman head bust at the top. The spine has two sets of gold bands at the top and bottom with the title in gold lettering. The work has one hundred fine colour plates of well know pictures with information about each master. Each book has a brown paper dustjacket with the title at the top in black lettering.non-fictionThis work is published in three volumes containing one hundred fine colour plates of well-known pictures from many lands for the general public to enjoy. In addition to the plates there is a brief account of the life and times of each master represented avoiding all discussion of technical matter as far as possible.art books, art, painters, artists, artworks -
Mont De Lancey
Book, Charles Kingsley, The Water Babies, 1905
The story deals with the moral education and Christian redemption of a young chimney sweep called Tom, who after drowning is transformed into a clean 'water baby' or sprite. This second chance allows him to evolve into a strong and worthy man, capable of engaging with the modern world. It is considered a moral fable and a satire on Victorian attitudes to child labour and religion.An olive green hardcover children's fiction book, The Water Babies by Charles Kingsley with Art Nouveau decorated covers, and the title and publisher printed on the decorative spine. It has Pp. 264 plus 32 S.W. Partridge and Co.'s Catalogue Pages of Popular Illustrated Books classified according to price. There are six black and white illustrations by HLB. It has brown discoloration with age throughout. A Bookplate is glued onto the front right hand endpaper.fictionThe story deals with the moral education and Christian redemption of a young chimney sweep called Tom, who after drowning is transformed into a clean 'water baby' or sprite. This second chance allows him to evolve into a strong and worthy man, capable of engaging with the modern world. It is considered a moral fable and a satire on Victorian attitudes to child labour and religion.fantasy books, children's books, religious books -
Mont De Lancey
Booklet, W. L. Mitchell, Sho' Card Lay-Outs, Unknown
The booklet is the fruit of 40 years first-class practical experience by one of Australia's leading Show Card Writers, W.L. Mitchell to assist retailers to effectively improve displays for the promotion of their products. There were costly books available for showcard writing, but there were very few publications which devoted much attention to the art of the lay-out of the showcard.A light tan small rectangular paperback handbook: Sho' card Lay-outs. The front cover has decorative writing of the title and author with a highly patterned lined and black background. 246 designs - 24 plates, 5 pages of Expert Instructions is written at the bottom in black lettering with the price 1/- in a black circle at the bottom. One Shilling is underlined. National Handbooks No. 3. On the back cover are five Beauty in Adornments designs with a monogram of the title in the middle. Pp.32non-fictionThe booklet is the fruit of 40 years first-class practical experience by one of Australia's leading Show Card Writers, W.L. Mitchell to assist retailers to effectively improve displays for the promotion of their products. There were costly books available for showcard writing, but there were very few publications which devoted much attention to the art of the lay-out of the showcard. advertising material, advertising booklets, advertisements, designs -
Kilmore Historical Society
THE MAGAZINE OF ART, 1888
Magazine covering many aspects of art and design. Brown cloth-bound hardcover book. Decorative black print front cover, decorative embossed back cover, worn at extremities. Hinges broken & detached. Loose pages, front flyleaf torn. Foxing throughout. Pages gilt edged. Illus. 430 pp. Poor condition.Front flyleaf, 'Presented to J. Frisby/With all good wishes/From C.P. Hobson'. Botto left flyleaf, '"Carlsberg"/ Kilmore/April 1894'.art, magazine -
Mont De Lancey
Glass - Ornament
Gift to Hilda and Eva Sebire in 1905. Uranium glass is glass which has had uranium, usually in oxide diuranate form, added to a glass mix before melting for coloration. The proportion usually varies from trace levels to about 2% uranium by weight, although some 20th-century pieces were made with up to 25% uranium.[1][2] Uranium or Vaseline glass was once made into tableware and household items, but fell out of widespread use when the availability of uranium to most industries was sharply curtailed during the Cold War in the 1940s to 1990s. Most such objects are now considered antiques or retro-era collectibles, although there has been a minor revival in art glassware. Otherwise, modern uranium glass is now mainly limited to small objects like beads or marbles as scientific or decorative novelties.A pair of ornamental Vaseline or uranium milk glass yellow/green swans.glass, ornaments, swans -
Wodonga & District Historical Society Inc
Plaque - Plaque 1981 Rotary International Pacific Region Conference, Betty L. Barberis
This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work for significant organisations and institutions . Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013. The 1981 Rotary International Pacific Region Conference was held in the Royal Exhibition Building, Melbourne, between 26 and 29 November 1981. More than 5,000 Rotarians from around the Pacific attended the conference in Melbourne to discuss 'The Future of the Pacific Region'. Speakers included the Honourable Malcolm Fraser, Rotary International President Stan McCaffrey, President Elect Horoji Mukasa, Ranald McDonald, representing the media, Sir Ian McLennan, representing industry, Japanese former Ambassador Nobuhiko Ushiba and Philippines Deputy Consul General Mrs Minerva Falcon, both representing diplomatic services, as well as other Rotarians. A limited number of plaques were produced from quality imported porcelain.This item represents a major event held in Melbourne for Rotary International and is also the work of a prominent artist from the Wodonga district.2 ceramic plaques designed by Betty Barberis for the emblem of the 198T Rotary International Pacific Region Conference held in Melbourne in 1981. The plaque bears the Rotary emblem, slogan and other text as well as an image of a kangaroo and lyre bird.In top banner: "SERVICE - ABOVE - SELF" In central circle: "ROTARY INTERNATIONAL" around 1981 In lower banners: "PACIFIC REGIONAL CONFERENCE / MELBOURNE AUSTRALIA".betty barberis, rotary international, 1981 rotary international pacific region conference -
Wodonga & District Historical Society Inc
Memorabilia - Australian Antarctic Research Expedition Cloth Badge, Betty L. Barberis, 1982
This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work including these badges for the Australian Antarctic Research Expedition in 1982. Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013.This item represents an important research organisation in Australia and was created by an highly recognised artist from Northeast Victoria.A framed montage of 2 cloth badges designed for the Australian Antarctic Research Expedition in 1983, a pin featuring a penguin, a business card and a note written by the artist and donor Betty Barberis nee Barton.On sign above badges:' THESE BADGES WERE DESIGNED FOR THE -/ AUSTRALIAN ANTARCTIC / RESEARCH EXPEDITION 1982/ By BETTY L. BARBERIS In the top left corner: "It is with very great pleasure I give these treasures to Wodonga Museum/ Betty Lorraine Barberis (Barton) 1927 / 2 -1-2011"betty barberis, anare, australian antarctic research expedition -
Wodonga & District Historical Society Inc
Banner - Wodonga Historical Society Banner, Betty L. Barberis, 2009
This item was created for Wodonga Historical Society by the artist, Betty L. Barberis in 2009. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work, including this banner created for Wodonga Historical Society and featuring the Wodonga Water Tower. Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013.This banner was created by a renowned and highly regarded artist from Northeast Victoria.A large velvet banner created for the Wodonga Historical Society by noted local artist Betty L. Barberis. It is mounted on a pine rod and features an image of the water tower in Wodonga, Victoria. The majority of the banner is hand stitched.Around the edge of the central image: "Wodonga Historical Society Victoria.wodonga historical society, betty l. barberis -
Warrnambool and District Historical Society Inc.
Souvenir - Warrnambool Exhibition Glass, 1896-7
This is a glass cup which has been painted and etched at the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition lasted three months and was staged at the Liebig/Timor Streets intersection at the Warrnambool Town Hall and Council buildings with some temporary buildings added for the occasion. It was reported that 70,000 people visited the displays, attended the concerts and entered the competitions. John Villiers, a Warrnambool painter and decorator with a glassware and chinaware shop in Liebig Street, had a stall at the Exhibition. He brought from Melbourne a glass etcher who etched glass souvenirs such as this one for patrons of the Exhibition. It was the first time that glass etching had been done in Warrnambool. Alice McConnell was born in 1885 in Warrnambool to Robert McConnell and Matilda Russell so she was about 11 or 12 at the time of the Exhibition. She died at the age of 17 in Warrnambool. Her father was possibly the proprietor of the R. and J. McConnell livery stables which later became a transport company in Warrnambool.This glass is most significant because it is one of the few surviving souvenirs of the important Warrnambool Industrial and Art Exhibition of 1896-7. It is also a memento of Alice McConnell, the owner of the glass, who died at the young age of 17. The item comes from the estate of Ken Wooles who was a descendant of the Wooles family prominent in Warrnambool as monumental masons. He was also related to the McConnell family on his mother’s side of the familyThis is a glass cup with a handle. It has a curved shape and has a painting of a young girl with brown hair in a white decorative setting. The glass is etched with the name of Alice McConnell and this was done in 1897 at the Warrnambool Industrial and Art Exhibition of 1896-7. There is a crack near the handle.‘Warrnambool Exhibition, Alice McConnell, 1897’warrnambool industrial and art exhibition 1896-7, alice mcconnell -
Warrnambool and District Historical Society Inc.
Decorative object - Artefact, Silver pomander - Wembley logo, 1924
This silver wool-holder was sold as a souvenir at the British Empire Exhibition of 1924-5. This exhibition was staged to strengthen the bonds of the British Empire and 56 of the 58 nations or territories within the Empire participated. Wembley Stadium was built for the Exhibition and called then Empire Stadium. 27,000,000 visited the exhibition in the two years of is existence. Wembley Stadium survived until 2003 when it was rebuilt. This wool-holder is of interest as an example of the type of household item that would have been in a more affluent home in the 1920s. It is also of interest as an example of the type of souvenir sold at the British Empire Exhibition in 1924-5. It is a useful and attractive display item.This is a silver circular-shaped wool holder which was a souvenir of the British Empire Exhibition held at Wembley in 1924-5. It has four silver segments held together at each end with silver pins. The segments have an open fretwork pattern and can retract and open to allow material to be stored and to be easily accessible to the knitter or needleworker. The Wembley emblem with the image of an Art Deco lion is welded onto one of the segments. This silver ball could also be used as a pomander to hold perfumed material and to be placed in a wardrobe or cupboard.‘Wembley’ british empire exhibition, wembley 1924-5, pomander, wool holder -
Mont De Lancey
Photograph - Framed Photograph, Twites Art Picture Framers, Unknown
Hilda was born in Wandin Yallock in 1899 and was the eldest daughter of William and Frances sebire.. She died on 14th August 2906. aged seven years in Wandin Yallock. She is buried at the Lilydale Cemetery.A framed photograph of Hilda Rihoy Sebire 1899 - 1906, taken standing next to a decorative stand with a pot plant fern on top of it. Hilda is wearing a frilly long sleeved white dress with a large collar and tie at the neck. She wears a very large frilled hat with ribbon ties. The decorative gold painted wooden frame has a cream cloth mount with a gold edge around the black and white photograph. Attached to the bottom of the frame is' Hilda Rihoy Sebire 1899 - 1906'. The framer has a sticker on the back, 'TW REF. 3006' portrait photographs, pictures, frames, photograph frames, photograph accessories, family life -
Kew Historical Society Inc
Ceramic - Dish, Viola Ayling, 1950–1970
Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by the Australian art potter, Klytie Pate.Small, green glazed dish, highlighted with splashes of purple. Five ballerinas in the cavetto surround an undecorated well. The reverse is glazed a lighter green. Spur marks in the foot rim reveal that the dish was supported on stilts in the kilnSignature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling -
Kew Historical Society Inc
Collection, Ceramics of Viola Annie Ayling (1911–1990), 1950–1970
Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.Parent file of the items in the Viola Annie Ayling collection of 1940s, 1950s, 1960s and 1970s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), ceramics -- victoria (australia), viola annie mcvicars, viola annie ayling -
Kew Historical Society Inc
Ceramic - Madonna and Child, 1950–1970
Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand modelled ceramic sculpture of a Madonna and Child figural group. The abstract figures are fully covered in an olive green overglaze, apart from the base which is overglazed in cream. The base has an incised spiral beneath the glaze, which was used to decorate the hidden surfaces of a number of pieces, The base is signed with the artist's name around the edge.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, madonnas and child, viola annie mcvicars, viola annie ayling -
City of Greater Bendigo - Civic Collection
Domestic object - Water Monkey, Bendigo Pottery, 1880 - 1910
Vessels for storing water such as these are common throughout the ages and evident in the pottery of the middle east, Mediterranean and Africa. Between 1880 and 1910 Bendigo Pottery produced these as part of their terracotta ware range. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery to produce tourism tableware and art pieces and the Civic Collection holds a number of important items within its collection.Polished terracotta water holder with saucer and stopper. Globular body with rounded base. The shoulders taper into long cylindrical neck, no handle or pouring spout. Surface is undecorated expect for two rings at base of neck. This is the smaller of the two. 0430a stopper; 0430b vessel; 0430c saucerNone foundbendigo pottery, george gutherie, city of greater bendigo tourism -
City of Greater Bendigo - Civic Collection
Domestic object - Water Monkey
Vessels for storing water such as these are common throughout the ages and evident in the pottery of the middle east, Mediterranean and Africa. Between 1880 and 1910 Bendigo Pottery produced these as part of their terracotta ware range. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative ware, as well as artistically, being responsible for training and supporting many local potters. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery to produce tourism tableware and art pieces and the Civic Collection holds a number of important items within its collection.Polished terracotta water holder with saucer and stopper. Globular body with rounded base. The shoulders taper into long cylindrical neck, no handle or pouring spout. Surface is undecorated except for two rings at base of neck. This is the larger of the two. 0431a stopper; 0431b vessel; 0431c saucerNone foundbendigo pottery, city of greater bendigo tourism, george guthrie -
Mission to Seafarers Victoria
Decorative object - Lamp, c. 1930
From research from PROV, maker could be Arthur Apps, a Victorian Railways employee (Head Office liftman), who was making those lamps to sell for his "favourite" charity, the Children's Hospital where he was a Life Governor. (Victorian Railways newsletter April 1948, p 11)The lighthouse is the symbol of hope and security for seafarers.Lighthouse shaped lamp with art deco lamp shade. Base is mallee wood, lighthouse is kauri wood.lighthouse, lamp, maritime art, art deco -
Alfred Hospital Nurses League - Nursing Archive
Ceramic - Stoneware bottle, Doulton Lambeth, Baked clay jar unearthed during demolition of the Edward Wilson Wing 1999, ca.1870 - 1890
The business was specialised in making salt-glazed stoneware articles, including utilitarian or decorative bottles, jugs and jars, much of it intended for inns and pubs. The backbone of the business was a wide range of utilitarian wares, mostly stone wares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics. From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. The company always made some more decorative items, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery. Initially, this was done through artistic stoneware's made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china table wares and decorative items. An early utilitarian stoneware item made by a well-known company that specialised in making salt-glazed items that later earned a reputation for making stoneware art objects. brown glazed earthenware bottle, circular grooves at throat of bottle x 3, cylindrical shape, narrow neck, makers stamp on side, large chip at opening, multiple small chips on sides. no stopper. paper label taped to front -Baked clay jar unearthed during demolition of the Edward Wilson Wing 1999 Doulton Lambeth stamp base of front - makers mark. label -paper label taped to front -Baked clay jar unearthed during demolition of the Edward Wilson Wing 1999ahnl, edward wilson wing alfred hospital, baked clay jar -
Hymettus Cottage & Garden Ballarat
Functional object - door, Cottage external door Hymettus cottage
This simple rear cottage door at Hymettus built 1900-1901 has been the back door since the early 1900s. Photos in the family collection however, reveal that it was originally the return front verandah door to the dining-room and the transition seems to have occurred about 1910 when a new door was installed for the front verandah to complement the art-nouveau lead light transom and surrounds to the main front entrance. A similar simple glass and two panel cottage door closes off the passage from main passageway to the kitchen and service end of the home so that the home presents as more simple in the service area fittings with more decorative features to the more important front rooms of the home reflecting the progression of style as the family had more money to spend on the home. -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Stonygrad, 34 Hamilton Road, North Warrandyte, 30 January 2008
Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins.1 He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’.2 Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram,3 and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone.5 Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools.6 The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, danila vassilieff, hamilton road, north warrandyte, stonygrad -
Hymettus Cottage & Garden Ballarat
Decorative object - cup & saucer, cornflower hand-painted cup and saucer
The simple cottagy handpainted designs of Louse Powell's on Wedgewood creamware was popular in the 1920s. This is one of a set of four (possibly originally six) Louisa Powell decorated Wedgewood cups and saucers. Louise Powell was the grand-daughter of Emile Lessor.Wedgwood sought to offer a new product range which, after its success, lead to she and her husband receiving money towards a studio to work, two assistants in London and a studio in the Wedgwood factory. Their brief was to developed the art wares within the company. Their style was sought by Wedgwood to mass-produce works which coincided with the arts and crafts movement. A lot of Louise's work was individual as she preferred calligraphic and heraldic motifs. Most of her designs were hand painted and a lot of her patterns were derived from nature in a calligraphic fashion.Underglaze printed Wedgewood label to base with Louisa Powell cypher. wedgewood, louise powell, creamware, cottage designs., emile lessor, porcelain -
Melbourne Tram Museum
Postcard, Marlborough Art Series, Princes Bridge Melbourne, 1910
Photograph of Princes bridge Melbourne with one cable tram set crossing. In the background is the then new Flinders Street station building. Note the clock on the right hand side of the photograph that was later transferred to Spencer Street station. Yields information about Princes Bridge in 1910.postcard - decorative border with a photo of Princes Bridge within an oval - embossed. On the rear is a letter dated 21/12/1910. Card by Marlborough Art Series.See note on rear.tramways, trams, yarra river, princes bridge, cable trams, flinders street station, clocks -
National Wool Museum
Clothing - Tabard, Jun Tomita, 1970s
This tabard is one of a small number that were produced/woven by Japanese master weaver Jun Tomita during the period that he was resident artisan at the Jam Factory in Adelaide. The tabard incorporates Ikat/Kasuri woven central panels. Tomita was born in 1951 in Toyama prefecture, and is based in Kyoto, the textile centre of Japan. The technique he uses kasuri (the Japanese term for ikat) is selectively pre-dying yarns before weaving to create pattern. The other decorative features of this garment are based on Japanese family crest designs (kamon). The pointed shoulders of this garment are reminiscent of the stiffened shoulders of kataginu, the upper part of the kamishimo ensemble that was formal wear for samurai men. Tomita was at the Jam factory from 1976-78 and he has works in numerous public collections, including: - Stanthorpe Art Museum, Art Gallery of South Australia / Australia - Oslo National Gallery / Norway - National Museum of Israel / Israel - Stedelik Museum, Museum of Rotterdam / The Netherlands - Denver Art Museum, St. Louis Art Museum, Long House Foundation - Cooper-Hewitt Museum of Art/USA - Victoria and Albert Museum, UK - Toyama Prefectural Museum of Art, Japan The donor purchased this tabard from an exhibition held at Wool House in Parkville Victoria, which was sponsored by the Australian Wool Board to promote the use of Australian Wool in textiles and fashion at that time, around April/May in 1977. At that time (1976-1977) the donor owned and run a retail/display shop for craft products such as ceramics, artworks and jewellery. The donor subsequently retained this in storage with some other items since the business closed.Double sided reversible tabard featuring woven centrals panels. One side is navy blue with white and blue detail panels, one side is grey with green, brown and cream central panel detail.textile, tabard, japan, art, clothing, weaving, fashion, design, ikat, kasuri