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Tennis Australia
Lithograph, Circa 1880
A colour lithograph issued by the Salon de la Mode, featuring two women wearing high fashion of the late 19th century, posing next to a tennis court net. The woman on the left is holding a racquet. Below is the image of a coat-of-arms, with the monogram 'HVP', which is that of the director of the Salon de la Mode, Henry Petit. One of the engravers is identified as 'Lefranco'. Materials: Paper, Ink, Cardboard, Metal, Paint, Wood, Glasstennis -
Tennis Australia
Racquet, Circa 1962
A wooden racquet, featuring a decal of the Slazenger coat-of-arms, on both sides of throat. Inscription, from head to stem, on obverse: KEN ROSEWALL/SIGNATURE/SLAZENGER. Inscription along right side of stem: MADE EXPRESSLY FOR SEARS ROEBUCK CO. Butt cover: CERTIFIED/&/APPROVED/BY/TED WILLIAMS/FOR/ACTIVE AMERICANS. Materials: Wood, Adhesive tape, Nylon, Metal, Glue, Lacquer, Leather, Ink, Ribbon, Plastic, Stringtennis -
Maldon Vintage Machinery Museum Inc
Motor Mower, Maker's name "Charles H Pugh"
Green painted cylindrical lawn mower with rear roller, pull start and no catcher. Regal coat of arms on front housing signifying maker is official motor mower supplier to the Queen. Rectangular petrol tank mounted between the handles above the engine. Small wooden roller in two parts on front. Pale grey plastic cover on starter mechanism. Height adjustment on front roller. Engine controls on right handle.Possibly "Eureka" model.machinery, cylinder motor mower -
Glen Eira City Council History and Heritage Collection
Booklet - Booklet, commemorative, "City of Caulfield CENTENARY 1857 - 1957", c. 1957
Commissioned by the Caulfield City Council to mark the occasion of the Centenary of the City of Caulfield, October - 1957.Small commemorative book with cream coloured cover. The words "City of Caulfield" are embossed in brown ink on the top of the cover. The original City of Caulfield Coat of Arms is embossed in brown ink in the centre of the front cover. The words "Centenary 1857 - 1957" are embossed in brown ink at the bottom of the cover. The interior pages are cream coloured and are not numbered. The text and images are in black and white. The book shows evidence of being used as library book throughout.caulfield, centenary, 1857-1957, city of caulfield, glen eira city council -
Bendigo Military Museum
Book - BOOK, INFANTRY, HER MAJESTY"S STATIONARY OFFICE, INFANTRY DRILL 1893 BY AUTHORITY, C.1893
INFANTRY DRILL 1893 BY AUTHORITY - Infantry Drill Training - BritishCover - hard cover, cardboard, leather - dark red with gold print on front and spine, with gold military coat of arms above print on front. Front embossed to frame print. Pages - 269 pages, cut, stippled edges, coloured light red, off white. Block print including front and back end papers. Illustrated - black and white diagrams and illustrations. Grey lead pencil annotations throughout the book. Contents Page. greylead pencil - " ......./D Coy/69th Battalion" Throughout the book - grey lead pencil - "X"book, infantry, drill, british -
Whitehorse Historical Society Inc.
Memorabilia - Medallion, 2005
Medallion was minted to commemorate the 60th anniversary of the end of World War IIRound gold coloured medallion commemorating the 60th anniversary of the end of World War II. The front has a stylised map of Australia with 'World War II 60 years 1945-2005'. The back has the Australian Coat of Arms with 'World War II Service of Australia. The Medallion is contained in a black box with '60th anniversary of the end of World War II'. 'For Service to Australia'. A small brochure from The Royal Australian Mint.as above. On Box Australian Government - Department of Veterans' Affairs.military history, army -
National Wool Museum
Currency - One Pound Note, John Ash, 1938 - 1948
John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash -
National Wool Museum
Currency - One Pound Note, John Ash, 1938 - 1948
John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash -
Whitehorse Historical Society Inc.
Clothing - Negligee Set, 1966
Worn as part of her trousseau by Rosalie Whalen on her honeymoon after her wedding on 1st June 1966 at St Andrews Presbyterian Church, Gardiner, Vic.|Bought at a shop at the top of Collins Street 'The Paris End'.Rosalie is the great great grand-daughter of Johann August Schwerkolt, pioneer of Mitcham.1. 1966 white sleeveless batiste nightgown with salmon pink silk Rouleau ties on shoulders. The armholes and neckline are edged with the salmon silk. 2. The elbow-length sleeved coat has a gathered neckline edged with salmon pink Rouleau and tied at the opening (which does not have any fastenings). The sleeves are raglan with elastic casing and decorated with a salmon pink bow. See also wedding dress NA4579 and hat NA4597.costume, female nightwear -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Domestic object - Commemorative paperweight, SOGC Golden Jubilee, 1994
This paperweight was created as part of the Golden Jubilee celebrations for SOGC (Society of Obstetricians and Gynaecologists of Canada) in 1994.Marble paperweight in the shape of a rounded square. Front of paperweight is engraved with a head and shoulders image of two Inuit figures, possibly a mother a child, wearing one coat between them and peering out of the same hood. The paperweight is signed by the artist at bottom right of front of paperweight. Back of paperweight is engraved with the text 'SOGC/1944-1994'. Bottom right of back of paperweight is signed by the artist, alongside the engraved words 'Quebec/Canada'. -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Sculpture - Carved wooden figurine of a neurologist, Germany, Jaschke Pretzl, c. 1950s
This is a German made figurine, attributed to Jaschke Pretzl. Loosely translated, the label text on the figurine says 'Neurologist' and 'Out! They're getting on my nerves!'. Stamp printed on underside of base says that this is a hand-carved figure.Carved wooden figurine. Depicts a man in a white coat, red tie, and glasses, standing with his hands at his side. He has a receding hairline, and a mohawk-like hair style. The figure is atop a small wooden base, one side of which carries handwriting that reads 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!' The underside of the plinth is printed with a stamp that reads 'Handgeschnitzte/Pretxl/Figur'. 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!'/'Handgeschnitzte/Pretxl/Figur'obstetrics -
Melbourne Tram Museum
Uniform - Coat Button/s, Stokes and Sons, K.G. Luke Australasia, 1970s?
Set of five nickel silver MMTB Coat buttons. Three of the buttons (approx. 22mm dia) are made by Stokes and Sons Melbourne and the two (approx. 25mm dia) are made by K. G. Luke Australasia. The badge backing piece is brass. It is fitted with a lug for sewing onto a jacket and have name of manufacturer stamped on rear part. The Stokes and Sons badges are two small holes in the rear, while the Luke's badges do not.trams, tramways, melbourne tramways, uniforms, buttons, mmtb -
Melbourne Tram Museum
Document - Programme, Tramway Board employees, "Grand Patriotic Concert", Jul. 2018
Programme - folded quarto sheet printed on gloss off-white paper, titled "Grand Patriotic Concert" held by employees of the Tramway Board for the endowment of a coat at the Caulfield Military Hospital, Masonic Hall Collins St, 16/7/1918. Organised by Ruby Whitelaw and Olive Smith. Gives details of the performers, with the Victorian Railways Institute Orchestra. On rear has a photo of the Sick and Wounded Soldiers on the Caulfield Military Hospital Grounds.trams, tramways, tramway board, fund raising, world war 1, hospital, caulfield -
Clunes Museum
Memorabilia - MEDAL & DOCUMENTS, STOKES & SONS MELBOURNE
GOLD CIRCULAR MEDAL WITH SEMICIRCULAR BANNER ON WHICH IS WRITTEN "AUSTRALIAN COMFORTS FUND, BALLARAT". BELOW THIS IS THE COAT OF ARMS OF AUSTRALIA : FROM L TO R : UPRIGHT KANGAROO HOLDING A SHIELD ON WHICH ARE 1. THE EUREKA FLAG .2 THE SOUTHERN CROSS .3 CROSS .4 BIRD .5 SWAN & STARS .6 LION AN EMU HOLDS THE OTHER SIDE OF THE SHIELD. UNDERNEATH IS A RIFLE, UNDER THIS IS A BANNER WITH READS TRENCH SHOP 1918 FRONT - AUSTRALIA COMFORTS FUND, BALLARAT BACK - TRENCH SHOP, 1918local history, numismatic, medals, military -
Bendigo Historical Society Inc.
Container - BOTTLES COLLECTION: PEPPERMINT CORDIAL BY CHAS GLOVER BENDIGO
Glass bottle. Brown with black edges label: compound cordial at the top, and in pencil 15-20 yo old. underneath in an oval the trademark symbol of two bulls a coat of arms, a crown and a flag. The main part of the label has a flower symbol and the words ''flavored peppermint approx 26 ozs.'' diagonally across. Manufactured by Chas Glover Bendigo, phone 343. The bottle is full, cork in position with wax cover.bendigo, business, chas glover -
Bendigo Historical Society Inc.
Medal - GEORGE V CORONATION MEDALLION, 1911
George V Coronation Medallion: Inner circle has coat of arms with two ladies leaning on a banner with kangaroo holding a crown on top of banner with an inscription above VICTORIA. Underneath inscribed in a ribbon is 'PEACE & PROSPERITY' Outer circle inscribed 'TO COMMEMORATE THEIR MAJESTIES CORONATION JUNE 22 * 1911' One the back is a picture of the King and Queen in ceremonial dress with the inscription 'KING GEORGE V QUEEN MARY' Box 625.numismatics, medals - commemorative, george v coronation. commemorative medal. -
Bendigo Historical Society Inc.
Document - CARD - CITY OF SANDHURST BANQUET, 17/11/1986
White card with gold printing, list of Toasts for City of Sandhurst Banquet in Honor of His Excellency the Governor and Lady Loch's visit to Sandhurst to open the Juvenile & Industrial Exhibition on the 17th November, 1886, at Shamrock Hotel. Front of card has City of Sandhurst Coat of Arms and lower down, a vase of flowers sitting on pavement. Inside is the List of Toasts and on the back is the name of the Mayor and printer. Banquet was held on the 17th November, 1886.document, invitations, junvanile and industrial exhibition, card, city of sandhurst banquet, his excellency the governor and lady loch, cr sterry, cr harkness, cr joseph, mr bailes, captain kirby, major blackham, major palliser, cr connelly, mr dunstan, cr mcgowan, cr weddell, cr carolin, p hayes esq, w holmes -
Bendigo Historical Society Inc.
Photograph - GROUP OF FOURTEEN MEN WITH CORNISH SYMBOL
Blue and white photocopy of photograph taken outside of group of fourteen men, in front of brick building with six sash windows. All men wear hats, some carry folded umbrellas, some wear frock coats, most wear three piece suits. Large rock in foreground. Rails on L background. At L background is shield with spats, and under 'one and all' ( Cornish Symbol). Mounted on white board.person, group, males -
Bendigo Historical Society Inc.
Photograph - HARRY BIGGS COLLECTION: VIEW POINT BUTCHERY, EAGLEHAWK
Harry Biggs Collection. Two black & white photos: View Point Butchery. Square brick building with iron roofed veranda. In the foreground are four men standing - one with a bike, another wearing a butcher's apron. One man is wearing a bowler hat & suit. One man wearing waist coat & bowler hat. There are also two men squatting in front of a tin fence at the side. See record 2400.168.place, building, commercial, harry biggs collection, view point butchery -
Bendigo Historical Society Inc.
Document - MELBOURNE HOSPITAL FOR SICK CHILDREN CERTIFICATE, 1900
Certificate for Legion of Honor Melbourne Hospital for Sick Children presented to Miss Tilly McCormack of Knowsley, buff coloured paper with borders of green & brown. Showing Hospital Scenees, a Red Cross, Angels, Floral Decorations and Coat of Arms, mounted under glass and framed with a black wooden frame with gold edges and brass corner pieces, markings read 'No 85 December 23rd 1900', 'Aunt Connie Weekly Times'organization, government, health, legion of honor, melbourne hospital, tilly mccormack -
Shepparton RSL Sub Branch
Uniform, Cape, C. 1950s
This cape may have belonged to RAN Telegraphist Norma Ashton Kilfoyle, however the date of her service is not consistent with the style of the article (which has buttons which suggest this cape was issued post 1952 during the reign of Queen Elizabeth II). It is possible, though not confirmed, that this cape was worn by Norma Kilfoyle in a later role after the Second World War.Black thigh-length nurses cape with red satin lining. Fastened along centre with four gold buttons and one press stud at chin (second button from the top is missing). Two slits at waist height on both left and right allow arms through from the interior to the front. Embroidered manufacturer’s label on interior at base of neck, below which there is an ink inscription. Sewn in fabric swatch on interior right.Handwritten inscription reads “KILFOYLE”. Manufacturer’s label reads “[Australian coat of arms]/A Quality Garment/BY/Australian Government Clothing Factory”. Interior sewn in label reads “33643/Kilfoyle/Cloak F Bara/[indiscernible characters]”. Buttons read “[Queen Elizabeth crown over the Navy anchor]/AUSTRALIA” and on interior “STOKES/MELB”cape, second world war, world war two, world war ii, navy, royal australian navy, ran, women, telegraph, communications -
Woodend RSL
Uniform - Great coat, 1967
It is a woolen khaki green great coat, with inter shoulder lining of khaki green canvas. There are back belt loop holes in the interior, lined by the same canvas. The pockets are made of the same canvas and are not sew to the interior of the coat at the bottom. The insides of the sleeves are lined with a more beige khaki green material. There is a split flap that is 500mm long in the middle at the bottom of the coat, which is fixed shut with two brown plastic buttons and a metal hook and eye at the bottom. The construction of the jacket is four panels and has been taken in at the waist for form above both pockets. The jacket has a back pleat from below the triangle stitching below the nape of the neck. The back belt has three metal insignia buttons, and the backside is lined with canvas. On both shoulders, there are epaulettes which have one metal insignia button each. On the front, there are three metal buttons on each on flap, and when the jacket is done up, the left flap goes on top. It has three button holes on the left flap and one button hole on the right flap for a large brown button on the inside of the left flap. There are two outer pockets on either side of the jacket. Beneath the jacket lapels, on either side there are metal buttons, and there are button holes for them in the middle of the bottom lapel. Where the upper and lower lapels are split, there is a hook and eye. There is a brown plastic button on the underside of both the upper lapels, which is where the extra flap of fabric on the inside of the left jacket flap, can be fixed as a face protector. The tag on the inside reads; DAVID KLEIN PTY. LTD. Victoria 1967 An arrow (Department of defence symbol) SIZE 6 CLASS 8405 66.012.0494 REGIMENTAL NO................... NAME......................... The regimantal number section had a number filled in but then scribbled out and another number written above, which is 359282. The name section was filled in with B.R.MIER. The name and regimental numbers were done in black marker pen. All the metal buttons are decorated with the medical corps symbol, which is a serpent-entwined rod (Rod of Asclepius) surrounded by a laurel wreath and above the rod is a crown (St Edward’s Crown). On the outside of the upper sleeves, just below the shoulder, there is two patches that signifies the rank of Staff Sergeant. The top patch is an embroided St Edward’s Crown and represents the staff rank. It is 47mm wide and 45mm. Below this there is a patch depicting the three stripes/ chevorns of the sergeant rank. The chevorn’s points face down, and the sides measure 66mm, while the depth down to the point is 86mm. The bottom lengths is 100mm on both sides and the top lengths are 9mm. coat, trench coat, great coat, medical corps, staff sergeant, b.p. mier, 359282, david klein pty. ltd., 1967 -
Ballarat Fire Brigade
Certificate, just prior to December 10th, 1867
Certificate is of the pledge that the brigade made to His Royal Highness the Duke of Edinburugh at a dinner that the Duke attended at the Ballarat Fire Station on 10th December 1867 during a royal visit to the district. White timber framed pledge from the Ballarat Fire Brigade to His Royal Highness the Duke of Edinburugh during his royal visit in December 1867. Pledge is on white paper with a coat of arms near the centre at the top of the page. Lettering is mainly in black ink with some red coloured letters being used. Certificate has a light brown coloured border around it with a hand drawn scrolled decorative edge made in gold colour. To His Royal Higness / The Duke of Edinburugh / May It Please Your Royal Highness / We Othe fficers and Members of the Ballaarat Fire Brigade, an institution based upon pure philanthropic / principles, our motto being "We Strive to Save" bear to approach your Royal / Highness with feelings of devotion and attachment, and deep felt gratitude to the Almighty, for this / opportunity of envicingour loyalty to Her Most Gracious Majesty Queen Victoria, your Royal / Mother: and, of tendering a hearty Firemans welcome to Your Royal Highness, in the land of our / adoption, and the good town of Ballaarat East, our residence. / We are deeply impressed with the great honor and importance of your Royal Higness's visit to the / Australian Colonies, and beg to express our fervent wishes for your Royal Highness's safe return / to our mother country. / We have the privilege and honor, to subscribe ourselves your Royal Higness's most obedient and humble / servants. / On behalf of the Brigade / Charles Dunn, Captain Carl Franz, Lieutenant / R. Geilhofer, Hon. Secretary / Ballaarat, December, 1867ballarat fire brigade, queen victoria, his royal higness, the duke of edinburugh, december 1867, 1867, captain charles dunn, captain dunn, lieutenant carl franz, lieutenant franz, honourary secretary r geilhofer, his royal highness the duke of edinburugh -
Bendigo Military Museum
Decorative object - EMBROIDERY, FRAMED, 1917
.1) Made by William TIBBETT No 978 1st AIF while convalescing in hospital in England, also on hospital ship on way to Australia and at out the Army depot in Caulfield 1918. .2) Same inscription as above). Refer 488P for his service history also 573..1) Embroidered Rising Sun badge, mounted & framed. White plain cloth background, King's Crown (multi coloured) & Rising Sun (red/pink) stitched over stitched scroll (glass frame & gold coloured 4 sided frame). .2) Australian Coat of Arms with kangaroo, emu stitched in brown thread, 6 State emblems represented, wattle flowering branches in background on being background cloth, glass in wooden frame.1) “Australian Commonwealth Military Forces”handcrafts- embroidery, military history, rising sun-coat of arms -
Tennis Australia
Racquet, Circa 1952
A wooden racquet painted white on shoulders and throat, with red leather handle grip, end wrap and butt cover. Decal inscription across base of head on obverse: DEMON. Below on throat is a coat-of-arms, with a banner device below with inscription: SLAZENGERS. LONDON. Along stem on reverse is a sticker containing address details of former owners. Materials: Wood, Paint, Leather, Ink, Adhesive tape, Nylon, Ribbon, Metal, Glue, Lacquertennis -
Tennis Australia
Racquet, Circa 1968
A Chemold Roy Emerson tennis racquet, with ribbon whipping around shoulders and shaft, and mottled rubber handle grip. Chemold logo features across base of head. A decal image of the United States coat-of-arms features on the throat. Decal of Emerson signature features across the centre of the shaft. Plain, white plastic butt cap. Materials: Wood, Nylon, Ink, Plastic, Rubber, Glue, Lacquer, Metal, Ribbon, Paint, Adhesive tapetennis -
Tennis Australia
Racquet, Circa 1968
A Chemold Roy Emerson tennis racquet, with ribbon whipping around shoulders and shaft, and mottled rubber handle grip. Chemold logo features across base of head. A decal image of the United States coat-of-arms features on the throat. Decal of Emerson signature features across the centre of the shaft. Plain, white plastic butt cap. Materials: Wood, Nylon, Ink, Plastic, Rubber, Glue, Lacquer, Metal, Ribbon, Paint, Adhesive tapetennis -
Tennis Australia
Racquet, Circa 1980
A Spalding, Martina Navratilova Signature tennis racquet, with coated string whipping around shoulders; leather handle grip with continuous patterned perforations; and, a plastic butt cap. Model name features across base of racquet head. Manufacturer's name features across crown, along shaft, across handle grip, and across butt cap. Materials: Wood, Metal, Lacquer, Glue, Ink, Nylon, Leather, Plastic, String, Fibre, Adhesive tapetennis -
Tennis Australia
Racquet, Circa 1935
A Wright and Ditson 'Melbourne Cup' tennis racquet, with: 'Shockproof' split shaft; string whipping around shoulders and shaft; and, leather handle grip with patterned perforations. Wright & Ditson coat-of-arms trademark features on throat on both faces; model name across base of head on obverse; Wright & Ditson cursive logo across base of head on reverse. Materials: Wood, Lacquer, Glue, Metal, Ink, Leather, String, Gut, Adhesive tapetennis -
Nillumbik Shire Council
Sculpture: Liz Williams, Liz Williams, In Love, c.1996
Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog