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Ballarat Tramway Museum
Drawing - Brisbane City Council Tramway Trackwork drawings
Prepared by the City of Brisbane for the design of trackworkYields information on the design of trackwork.Set of nine City of Brisbane Tram Track drawings .1 - PPW91 - Standard Crossover left hand - 4'6" between tracks .2 - PPW2450 - Data for British Standard Crossings .3 - PPW 241 - Data for British Standard Lateral Switches .4 - PPW 463 - Concrete Track Construction is 102.73lb rail. .5 - PPW 501 - ditto for AS 82lb rail and other rails .6 - Not numbered - Concrete roads when using T rail sleepers .7 - PPW 575 - 150' radius RH crossover - 5' between tracks .8 - PPW 576 - 150' radius RH Crossover - 4'6" between tracks .9 - PPW 577 - 150' radius LH Crossover - 5' between tracks - 14/12/1948trackwork, points, switches, bcc transport, tramways -
Ballarat Tramway Museum
Letter - from Alwyn Marshall Toolamba to Wal Jack re Wellington NZ tramways, Alwyn Marshall, late 1950s
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detail drawings and notes on various tramway system. This set looks at the Wellington system, though undated, most likely late 1950s, based on advice from the Wellington Tramway Museum and Alwyn's travels. Demonstrates some of the correspondence that Wal Jack received from around the world.Handwritten letter and drawing on foolscap ruled paper - four sheets, detailing the Wellington NZ tramway system. letters, wal jack, railways, tramways, alwyn marshall, wellington nz -
Ballarat Tramway Museum
Letter - from Wal Larsen to Wal Jack re the Tenterfield railway, Wal Larsen, Aug 1945
Wal Jack had an extensive range of correspondents throughout Australia and the world who often prepared extensive notes and records for him. This letter from Wal Larsen of Bright, dated 16 Aug 1945 describes a trip to Tenterfield, notes on crews, their hats, station layouts and detailed map. With the letter is a plan of the station layouts of the West Tamworth to Barraba line dated 6-10-45. Demonstrates some of the correspondence that Wal Jack received from around the world and that of Wal Larsen.Letter - handwritten with ink on a set of four ruled Salvation Army - Australian Comfort Fund and YMCA printed sheets and a drawing on a foolscap sheet on the rear of Australian Military Forces for - "Return on Members of the Permanent forces entitled to Medical Attendance"letters, wal jack, railways, nsw, wal larsen, tenterfield, barraba, west tamworth, nswgr -
Ballarat Tramway Museum
Letter - from Peter Richter Leipzig to Wal Jack, Peter Richter, 1958
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This letter from a 20 year old person in Leipzig Gemany. Written in German, Wal had to find someone to translate it for him. Letters dated 2-2-1958, 2-5-1958 and 28-8-1958. Not known who did the translation. The person was seeking photos and tickets. Two tickets are punched. The image is of a 2-6-0 tank locomotive overturned at the foot of an embankment.Demonstrates some of the correspondence that Wal Jack received from around the world.Set of three letters, translation, newspaper image, and two tickets. Letters written on airmail lightweight paper. Includes an original envelope. letters, wal jack, railways, tramways, peter richter, leipzig -
Ballarat Tramway Museum
Drawing - Plan and notes, Wal Jack, Auckland NZ tramways, 1945
... Set of two drawings - black, red and blue ink on quarto... Set of two drawings - black, red and blue ink on quarto size ...Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Auckland tramway system, both the main city, Auckland Tramway Board and the north shore - Takapuna Tramway and Ferry Co shows the various routes, locations and terminals. The hand written sheets provide opening dates of the various routes and gives the total miles and number of cars as at 31-3-1945. Based on the handwriting, prepared by Wal Jack himself.Yields information about Wal Jack's extensive recording and research work.Set of two drawings - black, red and blue ink on quarto size paper and two sheets of notes on the Auckland tramway system c1945.letters, wal jack, drawings, maps, auckland, takapuna nz -
Ballarat Tramway Museum
Drawing - Christchurh NZ - Plan and Notes, Wal Jack, 1947
... Set of two drawings - black, red and blue ink on quarto.... tramways Christchurch NZ Wal Jack drawings maps tramcars Set of two ...Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Christchurch tramway system, provides details of the tram system prior to being taken over by the City and afterwards. Plan dated 30-6-1947. The hand written sheets provide details of the routes and the rolling stock. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Set of two drawings - black, red and blue ink on quarto size paper and three sheets of notes on the Christchurch tramway system 1947tramways, christchurch nz, wal jack, drawings, maps, tramcars -
Ballarat Tramway Museum
Drawing - Dunedin NZ - Plan and Notes, Wal Jack, 1946
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Dunedin tramway system, provides details of the tram system during 1946 and the rolling stock. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil on quarto size paper and one sheet of notes on the Dunedin NZ tramway system 1946.tramways, wal jack, drawings, maps, tramcars, dunedin nz -
Ballarat Tramway Museum
Drawing - Invercargill NZ - Plan and Notes, Wal Jack, 1947
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Invercargill tramway system, provides details of the tram system and a list of the rolling stock and track length. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil and a second sheet, both on quarto paper providing details of the Invercargill NZ tramway system.tramways, wal jack, drawings, maps, tramcars, invercargill -
Ballarat Tramway Museum
Drawing - Napier NZ - Plan and Notes, Wal Jack, c1947
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Napier NZ tramway system provides details of the tram system and a list of the rolling stock. Notes that the system was destroyed by an earthquake, but he did not know the opening and closing dates at the time of preparation. The reference states that the system operated from 1913 to 1931. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil and a second sheet, both on quarto paper providing details of the Napier NZ tramway system.tramways, wal jack, drawings, maps, tramcars, napier -
Ballarat Tramway Museum
Drawing - New Plymouth NZ - Plan and Notes, Wal Jack, c1947
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the New Plymouth NZ tramway system provides details of the tram system and a list of the rolling stock. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil and a second sheet, both on quarto paper providing details of the New Plymouth NZ tramway system.tramways, wal jack, drawings, maps, tramcars, new plymouth nz -
Ballarat Tramway Museum
Drawing - Wanganui NZ - Plan and Notes, Wal Jack, 12/1946
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Wanganui tram system and a list of the rolling stock dated Dec. 1946. The typed foolscap sheet listing the trams or rolling stock gives details on each tram. May have been used to prepare Wal's list. Map and the handwritten list of trams, based on the handwriting, prepared by Wal Jack himself. The typed list may have been prepared by others. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil, one hand written sheet and one double sided typed carbon copy foolscap sheet with ink notes over poor sections of type.tramways, wal jack, drawings, maps, tramcars, wanganui -
Ballarat Tramway Museum
Drawing - Wellington NZ - Plan and Notes, Wal Jack, August 1947
Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Wellington NZ tram system provides a list of tramcars, track layout and general notes. Dated August 1947. Based on the handwriting, prepared by Wal Jack himself. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil and two quarto sheets hand made.tramways, wal jack, drawings, maps, tramcars, wellington nz -
Ballarat Tramway Museum
Drawing - Illustration/s, Albert Collins - Original artwork, King St. Sydney Cable trams
Colour print of a water colour by Albert Collins (1945) of a King St. Sydney with a Sydney cable tram set, titled "Another link with the past - King St. in the nineties", mounted onto textured card, lined on outer edges, with a piece of paper detailing the work attached to rear and an inscription.On rear "Compliments from Roy Field"trams, tramways, sydney, cable trams, king st -
Kew Historical Society Inc
Photograph - Framed Portrait, Cecil Beaton, Queen Elizabeth II, 1953
Portrait photographs of royal figures were hung in government offices and buildings. In some cases they were also displayed in homes. There are numerous portraits of Queen Elizabeth II most of which have been widely reproduced.Framed portrait photograph of Queen Elizabeth II, taken June 2, 1954, by Cecil Beaton. Although the image appears at first glance to be set in Westminster Abbey, the photographer actually employed a theatrical backdrop for the photo, which was taken in a drawing room at Buckingham Palace. Her Majesty wears the imperial state crown, created for Queen Victoria’s 1838 coronation, and holds the orb and scepter, looking every bit the picture of reigning British royalty.queen elizabeth ii, cecil beaton, royal portraits -
Kew Historical Society Inc
Drawing - Architectural Drawings [copy], William Pitt, Sir Malcolm D. McEacharn, Kew, 1901
... A set of architectural drawings of additions to Goathland... A set of architectural drawings of additions to Goathland ...A set of architectural drawings of additions to Goathland (originally Byram, and later Goathland and Lowan). The drawings, by the architect William Pitt represent additions to the size of Goathland. Pitt had previously worked with the original architect of the house, Edward George Kilburn, of Ellerker & Kilburn, who had designed Byram for the industrialist George Ramsden in 1888. 'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author.Six black and white architectural drawings by the architect William Pitt for additions to the home of Sir Malcolm McEacharn in Studley Park Road. The original is in the collection of the State Library of Victoria."Sir Malcolm D. McEacharn, Kew"william pitt, malcolm mceacharn, architects -- melbourne (vic.) -- william pitt, architectural drawings, byram, tara hall, goathland -
Stawell Historical Society Inc
Instrument - Realia, Engineering Instruments from Northern Grampians Shire
1: Small cardboard box with lid containing Silver distance Measurer. This was used for Measuring distances on plans.(Planimeter) 2: Cardboard Box without lid containing three plumbobs: One large turned brass: one small turned metal. One circular silver coloured metal complete with string and winding board. These were used to locate survey equipment above a fixed point. 3: Timber ( Vic Ash?) dovetailed box with brass hinged lid and brass swing catches containing plywood templates called railway curves, used for drawing curves on plans. 4: Cardboard box with lid containing Allbrit panimeter in Bakelite/plastic box with silver metal hinges and catches "Shire of Kara Kara" inscribed on the box. The box contains the original Instructions. The Planimeter was used for calculating areas of Irregular shapes and used for estimating quantities from plans of cut and fill projects, as one example. 5: Timber Box with brass hinges and swing catches wand leather carry Strap containing one set of self adjusting level made by E.R. Watts and Son, London England. Paper label on the inside "Shire of Stawell". Also had paper instructions pasted to the inner lid. The level was used for taking Ground Levels. The first 3 have been in use up until the 1990's, when computer drafting took over the role of these instruments with greater speed and accuracy. The dumpy level would have been superseded in the 1980's when automatic levels became cheaper, and were more accurate. stawell -
Maldon Vintage Machinery Museum Inc
Pens, Boxed
Set of 4 German made drawing pens and 3 attachments in a green plastic box with hinged clear plastic lid and white insert to hold items separately. In original white and green cardboard box.On box "S 1184 / 4N"trades, drafting -
Brighton Historical Society
Clothing - Dress, Evening dress, circa 1840
The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, both this dress and the dress T0004.1 were made for Elizabeth and Cecilia, to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1840. This dress shares a skirt with T0004.2, which dates from a different period (circa 1890). The bodice features a wide shallow neckline finished with a beige coloured cord in two decorative lines. The sleeve is set on the true shoulder and is a short fitted sleeve with decorative gathering and two lines of corded detail. The bodice is shaped to the body with 2 sets of six fine knife pleats diagonally positioned narrower over the waist and spreading out over the bust. These pleats are secured with six double lines of stitching. The bodice finishes high on the waistline at either side and points down to a point over the centre front. The base of the bodice is finished with a piped edge and beige decorative cording. The bodice encloses the body at the centre back where it has holes that presumably would have held lacing. The back features four diagonal knife pleats finishing at the centre back and splaying out over the shoulders. The waistline at the back features only a very gentle point.cecilia elizabeth adams, elizabeth emma adams, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, queen victoria, drawing room ball, 1840s fashion, tower house, woodchester -
National Wool Museum
Work on paper - Women's Official Occasions Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Men's Official Occasions Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Men's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8117 .1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian emblem in detail as well as the suit jacket and shirt. 8117.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of black trousers, a yellow button up shirt with a white collar and cuffs and a floral printed tie. Around the main image are three smaller drawings depicting the detail of the trousers, belt clasp and black shoes. 8117.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a green knit, button up vest, a yellow shirt with a white collar and cuffs and a floral printed tie. On this design there is also a small swatch of yellow fabric attached as well as a small detail drawing of the knit vest behind the right shoulder of the man depicted. 8117.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a yellow button up shirt and a printed striped tie. 8117.5 - unnumbered - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian Emblem set on top of stripes in detail as well as the suit jacket and shirt. 8117.6 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black shorts and floral button up shirt, belt, lace up shoes with socks and pocket detail.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Barcelona Olympic Uniform Rejected Design Drawings, Wendy Powitt, c. 1992
... athletes fashion design artwork drawing uniform 8121.1 - A set ...A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. These designs were rejected during the fabrication process and used at a later time by Doug Pleasance in demonstrations to university/TAFE students.8121.1 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of dark green shorts, a yellow and green striped windcheater with a map of Australia in the centre and a brown belt. 8121.2 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers, a red and orange shirt with blue cuffs and a map of Australia on the right breast pocket. To the right of the main drawing is a detailed drawing of brown leather shoes. 8121.3 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green button up shirt. In the top right hand corner there is a smaller depiction of the shirt showing the details. 8121.4 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green vest with five buttons in the shape of Australia. To the left of the main design are two smaller images, one showing the details of the pants and the other the detail of the buttons.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Officials' Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8122.1 - A laminated A3 sketchbook page depicting a design for the Men's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for blue suit pants and blazer with six gold buttons, a yellow shirt and a red, green, yellow and cream striped tie. To the left of the main image are four smaller detail drawings of the belt buckle, gold bottons, blazer and shoes. 8122.2 - A laminated A3 sketchbook page depicting a design for the Women's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for a blue elbow length, square necked blazer with gold buttons on both the front of the jacket and sleeves paired with a blue pencil skirt and a red, green, yellow and cream shirt. To the right of the main drawing are four smaller detail drawings showing the pattern for a scarf, the striped shirt, the blazer and the shoes. 1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Stoneware Bowl by Robin Welch, c1980, 1980
Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery -
Federation University Art Collection
Ceramic, Raku Fired Bowl with White Crackle Glaze by Robin Welch, 1980
Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus -
Federation University Art Collection
Artwork - Bookplate, 'John Gartner Ex Libris'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland. (http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html)Black and white Bookplate made with the etching process featuring a nude woman in a spherical frame. The figure 08 appears on the sphere.Signed lower centre [illegible]keith wingrove memorial trust, bookplate, australian bookplate design awards, john gartner, printmaking - etching, nude, life drawing -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Nude woman washing beneath a showerJ. Oliveira 229 1990bookplate, keith wingrove memorial trust, australian bookplate design awards, life drawing -
Federation University Art Collection
Work on paper - Bookplate, 'John Zelma'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) A nude woman lies on her side reading a book with a two story house surrounded by trees and shrubs in the backgroundZ 363 (0), signature 200/65 bottom centrebookplate, keith wingrove memorial trust, australian bookplate design awards, printmaking, life drawing -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Three stamps each with a nude figure in different postures.99/100 bottom left corner, signature bottom right cornerbookplate, keith wingrove memorial trust, australian bookplate design awards, printmaking, life drawing -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Naked woman leaning over an oversize book with an EXLIBRIS stamp pad on her back, all within an embossed rectangleSignature bottom right hand cornerkeith wingrove memorial trust, australian bookplate design awards, bookplate, life drawing, printmaking -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner historical information John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Nude woman sitting sideways on top of an oversize book, all depicted within an embossed circleSignature bottom right hand corner (possibly L May)keith wingrove memorial trust, australian bookplate design awards, printmaking, life drawing