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Ararat Gallery TAMA
Functional object, Basket and sweets, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Container, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Shosho, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Shosho, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Shosho, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Shosho, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Federation University Historical Collection
Flyer - Brochure catalogue, Volume one of four: Graduate Publication 2013 Bachelor of Visual Arts Graphic Design & Multimedia, 2013
Volume One is an 8pp A5 concertina fold brochure, with an introduction by lecturers Chrissie Smith and Ben Mangan. Includes work examples and details of five students. Reverse promotes Graduate Exhibition, "Mirage" on Friday 22 November. Students: Scott Gullock, Carleen Harmon, Kate Simpson, Josh Dunbar, Jennifer Marlow. Volume One is an 8pp A5 concertina fold brochure, green cover.university of ballarat, federation university, graphic design, multimedia, bachelor, degree, camp street campus, arts academy -
Uniting Church Archives - Synod of Victoria
Programme - Congregational Union of Victoria (Incorporated), Half-Yearly Assembly, 1957
The Congregational Union of Victoria (Incorporated) held its Half-Yearly Assembly from 4th October 12th October, 1937 at Collins Street Independent Church and the Melbourne Town Hall. The Chairman was Rev. Walter Albiston. A Youth Work Exhibition was held in the Independent Hall from Tuesday 8th, to Friday, 11th October.Four page booklet with black ink text. There is a line drawing on the front and three illustrations inside. congregational union of victoria (incorporated), rev walter albiston -
Robin Boyd Foundation
Booklet, Museum of Modern Art (New York, USA), Buildings for Business and Government, 1957
Catalogue of an exhibition on show at MOMA (25 Feb - 28 April 1957) during Robin Boyd's time of America. Includes articles on 6 American buildings of the 1950s, architects including Edward D Stone, Skidmore Owings and Merrill, Mies van der Rohe, Philip Johnson, Eero Saarinen and Minoru Yamasaki.buildings, architecture, edward d stone, skidmore owings and merrill, mies van der rohe, philip johnson, eero saarinen, minoru yamasaki, museum of modern art, walsh st library -
Federation University Art Collection
Artwork, Aaron Ollington, 'Jester from King Henry THE 10th Part 7' by Aaron Ollington, 2000
This artwork was the first computer generated work submitted for a fnal painting folio at the University of Ballarat (now Federation University). It was purchased from the University of Ballarat End Of Year Exhibition, 2000. 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.Framed digital work.art, artwork, digital, computer generation, aaron olington -
Vision Australia
Administrative record - Text, Vision Australia 2004-2005 annual report, 2005
Annual report providing overview of activities and achievements including: the merger of three organisations into one national service, transition from CD and cassette services to digital via DAISY books, tactile hands on exhibition held at the Sydney Object Gallery, a new sensory playroom was developed in the Hunter region and 'Lighthouse on the Boulevard' was published.1 volume with illustrations providing overview of organisational achievementscorporation records, vision australia, gerard menses, kevin murfitt, owen van der wall, keith barton, david blyth, maryanne diamond, paul gleeson, timothy griffiths, graeme innes, mike janes, june ashmore, malcolm daubney, lynette davis, john coleman, marie bashir, don nardella, bruce mcallister, adam spencer, stephen jolley, geoff butcher, ebru sumaktus, krystal keller -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Anne Scott Wilson, Fly Rhythm Dandenong series #1, 2013
Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, australian photography, photography, female artist, landscape -
Melbourne Tram Museum
Photograph - Black & White Photograph/s, Keith Kings, 10/03/1973 12:00:00 AM
Photograph - black and white of a drawing by Jack Stranger showing the tunnel and pit layout at Nicholson and Gertrude Streets corner, Fitzroy for the cable tram engine house. Includes the supplementary cable and the layouts of the various sheaves. See notes below for origin of the photograph.In ink on the rear: "Melbourne - "Drawing by Jack Stranger showing the tunnel and pit layout at Nicholson and Gertrude Sts corner, Fitzroy for the cable tram engine house. Compiled by exploration during March and April 1955? at the start of the Bourke St Tramway conversion. Photograph while on display at the TMSV exhibition at Stanhope St Malvern Tramway Hall 10/3/73" KSK print number 122-26.trams, tramways, cable trams, gertrude st, winding houses, cables -
Port Melbourne Historical & Preservation Society
Photograph - View of Port Melbourne, c.1890
.The view of Port Melbourne looking towards the sailing ships moored at Railway Pier is believed to have been taken from the Fire Tower off Liardet Street. Swallow's chimney can be seen behind the Graham Street Methodist church. This photograph is a part of a wider view of an original photograph taken for International Exhibition of 1873.View of Port Melbourne looking towards Town Pier with Swallow 's chimney behind the Graham Street Methodist Church.On back Methodist Church Graham Street Swallow's Chimney in Back groundreligion - methodist church graham street, swallow & ariell ltd, fire tower -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, The Exhibitionist Expo, 1970
Boyd discusses the exhibition buildings in Expo 70, Osaka, saying that they fall into two distinct categories, sophisticated or naive. Boyd is critical that Japan did not present a view of the future, which might have been expected of it. This manuscript was published under the title ‘Expo and Exhibitionism’ in 'Architectural Review 'Vol.148, No.882, August 1970.Original manuscript of article titled ‘Expo and Exhibitionism’ published in 'Architectural Review' Vol.148, No.882, August 1970, pp. 99 -100 & 109 &110.Typewritten (c copy), foolscap, 3 pages. (2 copies)osaka, expo 70, expo 67, archigram, metabolism, japanese architecture, kenzo tange, noriaki kurokawa, takamitsu azuma, sumitomo pavillion, takara pavilion, gas pavillion, yoshizawa ryusei, robin boyd, manuscript, ohm2022, ohm2022_31 -
National Wool Museum
Quilt, Growth
Quilt entitled "Growth" by Lois Densham, Melbourne, 1987. Depicts the growth of the woollen industry in Victoria. Quilt used in the exhibition "Wool in the Australian Imagination" (Historic Houses Trust of NSW, 1994) where it was stated that the artist likes to tell people about themselves and their world through her work by the use of familiar fabrics such as blankets.Quilt entitled "Growth" by Lois Densham, Melbourne, 1987.handicrafts, quilting, woollen mills history, running stitch group, running stitch collection, label, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), densham, ms lois, woollen mills - history -
Bialik College
Exhibition Panel, 70th Anniversary: Breaking Ground, 2012
Panel from the exhibition held to celebrate the College's 70th anniversary in 2012. Photograph 1: Students at the opening of the Auburn Road Campus, 16 August 1981. Photograph 2: Principal David Goldsmith and Sir Zelman Cowen at the opening of Auburn Road campus in 1981. Please contact [email protected] to request access to this record.auburn road, hawthorn east campus, 2000s, history -
Federation University Art Collection
Photography (colour), 'University of Ballarat Historical Collection' by Julie Millowick, 2008
Millowick produced photographs highlighting community museums of the Victorian Goldfields for the exhibition "Objects Faces Places. This work highlights objects from the Ballarat School of Mines, a predecessor of Federation University Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.An image of selected artefacts from the University of Ballarat Historical Collection (now Federation University Historical Collection).art, artwork, millowick, photography, available, historical collection, ballarat school of mines, museum -
Hymettus Cottage & Garden Ballarat
Exhibition Display Flower Holder
Michael Taffe created his exhibition garden at Ballarat in the the late first years of the twentieth century taking out many amateur awards at flower shows which were a popular form of hobby and entertainment of the era. These particular stands were used for flowers such as pansies and were designed variously for 12, 9 or six varieties. ballarat, exhibition garden, flower shows, entertainment, amateur awards, pansies. -
Christ Church Anglican Parish of Warrnambool
Memorial Plaque: Frederick Stephen STEVENS, CG Roeszler Sc Melbourne; WJ Hickford Warrnambool, Late 19th Century
The bells presented to Christ Church were brought to Melbourne for the 1881 Melbourne Exhibition where they were awarded 1st prize. Frederick Perkins Stevens several years later also provided the three stained glass windows above the main altar within the church as a memorial to his first wife, Jane, FS Stevens' mother.The plaque acknowledges the loss of a son, the provision of the three bells and the status of the donor.Ornately decorated, coloured and inscribed brass plaque within an oak frame. Red and blue colouring within the design elements and lettering.The Three Bells erected / in this Tower were / presented to Christ Church warrnambool by FP Stevens / Member for Villiers & Heytesbury / of the Legislative Council of / Victoria 1852 / In Memory of his younger Son / FS Stevens who died at his Station / Tintinchilla Queensland / 26th May 1880 Aged 30 Yearsfp stevens, fs stevens, german bells, german bells melbourne exhibition 1881 -
Warrnambool and District Historical Society Inc.
Document - Aquarium Information sheet, Circa 1971
The information on this document shows the inspiration and planning for the building of the aquarium at the Warrnambool breakwater. The instigator was Mr. John Doull, builders Fotheringham Constructions and architects, B. Auty and D Jenner. The Aquarium was opened in December 1971 by The Hon Ian Smith MLA. There were four separate exhibitions and galleries listed on the document. The Aquarium closed around 1998.A local landmark in the latter part of the 20th century with the domes being easily recognized. The people involved in its construction were an important part of Warrnambool’s history.Framed document in green and white speckled wooden frame. Hand written in black on white paper. Subline is written in red.warrnambool history, warrnambool aquarium, john doull, fotheringham constructions -
Port Melbourne Historical & Preservation Society
Photograph - Railway Reserve, Sandridge, William Paterson, 1870s
One of a series assembled for the Melbourne Exhibition of 1873, original mount hanging in Engineering Department at Port Melbourne Town Hall at 19-9-1994. This set of prints belonged to Town Clerk Syd ANDERSON, then to his daughter-in-law Phyllis ANDERSON (donor). Accompanied by list of captions, both hand written and typed (the latter a partial listing). View from pedestrian bridge over railway, looking southeast over 'ornamental' Railway Reserve, 1870s. Probably taken from footbridge just north of Raglan Street; open space is believed to be swamp drainage area between Raglan and Spring Street. (Location usually attributed to Farrell Street - i.e. taken from footbridge at Bridge and Station, but this proves unlikely as there had been no construction on the swamp between Bridge and Farrell until later.)"P. Anderson" ink, on back:"10" ballpoint, on upper left face of phototransport - railways, built environment, parks and gardens, sydney sims anderson, town clerks, railway reserve, station street -
Port Melbourne Historical & Preservation Society
Photograph - Bay Street from the Sugar Works, Sandridge, c. 1872
One of a series assembled for the Melbourne Exhibition of 1873, original mount hanging in Engineering Department at Port Melbourne Town Hall at 19-9-1994. This set of prints belonged to Town Clerk Syd ANDERSON, then to his daughter-in-law Phyllis ANDERSON (donor). Accompanied by list of captions, both hand written and typed (the latter a partial listing).View of Bay Street from Sugar Works c 1872 showing Seisman's Royal Mail, Lambs and Royal Hotels, earliest Swallow & Ariell building and Rouse Street and Bay Street shops including carpenter's."P Anderson" on back, ink. On face of photo someone has in the 1990s added a numeral in ink. This has been retouched out on our digital copies.swallow & ariell ltd, sydney sims anderson, town clerks, bay street, rouse street, nott street, business and traders - hotels, business & traders - manufacturing -
Port Melbourne Historical & Preservation Society
Photograph - Bay Street south, Sandridge, 1870s
One of a series assembled for the Melbourne Exhibition of 1873, original mount hanging in Engineering Department at Port Melbourne Town Hall at 19-9-1994. This set of prints belonged to Town Clerk Syd ANDERSON, then to his daughter-in-law Phyllis ANDERSON (donor). Accompanied by list of captions, both hand written and typed (the latter a partial listing).Empty market site from roof across Liardet Street, showing Bay Street south, Post Office, Town and Railways piers, Wesley Methodist Church. 1870s"P. Anderson" ink, on back.market reserve, religion - wesleyan methodist church, sydney sims anderson, town clerks, bay street, liardet street -
Port Melbourne Historical & Preservation Society
Photograph - Sandridge from Emerald Hill 1871, c. 1871
One of a series assembled for the Melbourne Exhibition of 1873, original mount hanging in Engineering Department at Port Melbourne Town Hall at 19-9-1994. This set of prints belonged to Town Clerk Syd ANDERSON, then to his daughter-in-law Phyllis ANDERSON (donor). Accompanied by list of captions, both hand written and typed (the latter a partial listing).Sandridge across empty land and lagoon, as seen from Nelson Place, Emerald Hill. Fountain Inn visible. c1871"P. Anderson" ink, on back.sandridge lagoon, emerald hill, sydney sims anderson, town clerks, business and traders - hotels -
Port Melbourne Historical & Preservation Society
Book, Water works, Trust - Inwards Correspondence, 1890s
Originally a correspondence record for the Warracknabeal Waterworks, this book was recycled for use as a visitors' register for the Missions to Seamen building, during the years the Mission Arts Centre occupied it (1987 - 1990). Included are signatures of visitors during the Bicentenary celebrations, January 1988 as well as casual visitors and attendees at exhibitions, performances, concerts, community days, private parties, etc.Large bound volume, blue with tan leather binding, stamped in gold "Water Works, Trust - Inwards Correspondence", used as visitors' register for the Mission Arts Centre, Missions to Seamen building 1987-89missions to seamen, mission arts centre -
Women's Art Register
Book - Exhibition Catalogue, Caroline Phillips, The f Word: Contemporary feminist art in Australia, 2012-2014
Publication accompanying the project, The f Word: Contemporary feminist art in Australia. Curated by Caroline Phillips, this project included multiple components: A Dinner Party: Setting the table; the Regional Feminist Art Forum, the Technopia Tours Feminist Art Bus, and two exhibitions.Publication accompanying the project, The f Word: Contemporary feminist art in Australia. Curated by Caroline Phillips, this project included multiple components: A Dinner Party: Setting the table; the Regional Feminist Art Forum, the Technopia Tours Feminist Art Bus, and two exhibitions.feminism, feminist art, melbourne, the dinner party, australia, judy chicago, west space, latrobe visual art institute, bendigo, gippsland art gallery, sale, victoria, ararat regional art gallery, ararat, technopia tours, kim donaldson, catherine bell, penny byrne, filomena coppola, kate just, jill orr, clare rae, elvis richardson, kate beynon, karen buczynski-lee, destiny deacon, laurene dietrich, eliza-jane gilchrist, janice gobey, georgia macguire, robyn massey, caroline phillips, louise saxton, inez de vega, lyndal walker, justine makdessi, the great petition, natalie thomas, laura castagnini, lyndal jones, vicki kinai, dot ket, virginia fraser, juliette peers, louise burchill, carolyn barnes, melbourne social equity institute, ebony gulliver, kalinda vary, kate robertson, stephanie alexander, kate macneill, victoria duckett, hana assafiri, victoria bennett, anne marsh, catherine deveny, danni zuvela, jon dale, marcia jane, catherine evans -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island area3 Clydesdale sculpture photographs (2004); 2 sunset photographs of Phillip Island (02/07/2004); 3 sunrise photographs at Cowes (05/07/2004). All eight photographs mounted on a single large piece of card.PENTAY 210 CAMERA - SAMSUNG 200 FILM/PHOTOS BY 'ICROS' CLYDESDALE/CHAIN SAW CARVING/CHURCHILL ISLAND/2004 DAY'S END PHILLIP ISLAND JULY 2 2004 EARLY SUNRISE AT COWES JULY 5 2004 churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaThree photographs of sunset at Cowes taken March 2005. Series of photographs taken at the 2005 Churchill Island Working Horse Festival - two of spinners, one of wagon wheels, one of peacock, and one of man with steam engine. All eight photographs mounted on a single large piece of card.PENTAX 210 CAMERA KODAK 400 FILM SUNSET/AT COWES/MARCH 2005 CHURCHILL ISLAND WORKING HORSE FESTIVAL MARCH 26 - 27, 2005churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2004
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaTwo photographs depicting chain saw carving the Clydesdale sculptures, and four photographs of the Churchill Island Highland Cattle. All photographs mounted on a single large piece of card.CHAIN/SAW/CARVING/CHURCHILL ISLAND HIGHLAND CATTLE - CHURCHILL ISLAND FUJI FINEPIX 53000 DIGITAL CAMERA - JUNE 28 2004churchill island, working horse festival, ian crosbie, clydesdale