Showing 378 items
matching victorian artist
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Koorie Heritage Trust
Document - Printed Sheets, Barrett, Charles, The Victorian Naturalist Vol. LII, No. 5 Septemver 1935. Tommy McCrae Aboriginal Artist, 1935
The notes supplied by two women who knew Tommy and his tribe are most interesting.5pp.; 2 facs.The notes supplied by two women who knew Tommy and his tribe are most interesting.tommy mccrae - aboriginal artist - biographies -
Koorie Heritage Trust
Book, Blandowski, William, Australia : William Blandowski's Illustrated Encyclopedia of Aboriginal Australia, 2010
... was an explorer, natural scientist and artist who led a Victorian ...Blandowski's "Australia" is simultaneously an encyclopedia of Aboriginal life, a visual record of Blandowski's travels from 1849 to 1857 and a collage which combines photograghs, original images and the works of other artists. William Blandowski was an explorer, natural scientist and artist who led a Victorian government expedition to the junction of the Murray and Darling Rivers from 1856 to 1857. This is the first publication in English of his nineteenth century illustrated encyclopaedia of Aboriginal life.v-vii, 188 P. map, ill. notes; photographs; facs. plates; footnotes; timeline; annotations.Blandowski's "Australia" is simultaneously an encyclopedia of Aboriginal life, a visual record of Blandowski's travels from 1849 to 1857 and a collage which combines photograghs, original images and the works of other artists. William Blandowski was an explorer, natural scientist and artist who led a Victorian government expedition to the junction of the Murray and Darling Rivers from 1856 to 1857. This is the first publication in English of his nineteenth century illustrated encyclopaedia of Aboriginal life.aboriginal australians -- murray river valley (n.s.w.-s. aust) -- social life and customs -- 19th century -- pictorial works. | aboriginal australians -- murray river valley (n.s.w.-s. aust) -- rites and ceremonies -- 19th century -- pictorial works. | material culture. | hunting, gathering and fishing. | body - scarification. | ceremonies. | recreation - games. | weapons - clubs and fighting sticks - fighting. | death - mortuary customs. | death - mortuary / funeral ceremonies - burial. -
Unions Ballarat
May Day 1890-1990 (poster), Wells, Di, 1990
Text and artwork on poster as follows: May Day 1890-1990 (header). Rally with banners: Fascism Means War; REPEAL Anti Union Legislation. 100 Years of struggle for workers' rights and socialism (footer). Names and pictures of four Victorian Union Legends: Tom Mann (London Dockworkers Strike and Victorian PLC Organiser); Vida Goldstein (Suffragist); George Seelaf (AMIEU); and Monty Miller (Eureka Stockade). This poster was a commissioned by Vic Morphy at RedLetter from the artist, Di Wells.Significant to the centenary of May day, activism and workers' rights.Poster - mounted. Colour theme is red, blue and fawn. btlc, ballarat trades hall, ballarat trades and labour council, may day, mann, tom, goldstein, vida, seelaf, george, miller, monty, dockworkers, suffragism, eureka stockade, socialism, fascism, may day, wells, di, redletter -
RMIT Design Archives
Photographs, ETA Factory 1961 mural by Eric Thake in manager's office
Eric Thake had a unique way of looking at the world, uniting a singular vision that found the extraordinary in the everyday, with a whimsical sense of humour and refined modernist aesthetic. One of his lesser-known commissions was a mural for the Victorian Manager’s office at the ETA Factory in Braybrook designed by Frederick Romberg in 1957. Photographed here by Kenneth Ross, the mural depicted a stylised map of Australia, with Indonesia above and New Zealand to the south, and showed the peanuts and other raw materials that ETA used in the production of various foodstuffs against a striking and entirely gilded wall. Kirsty Grant, 2017 Black and white photograph of a mural by Eric Thake in the manager's office at the ETA Factory, Melbourne.Typed lower center, 'ETA FACTORY 1961/ MURAL BY ERIC THAKE/ IN MANAGER'S OFFICE'eta, mural, braybrook, manufacturing, architecture, artist -
Parliament of Victoria
Victoria the Golden, Strutt, William 1825-1915, Victoria the golden : scenes, sketches, and jottings from nature, 1850-1862, 1850-1862, c.1895
"Victoria the Golden" documents life in Victoria between 1850 and 1862 as viewed by artist William Strutt. Momentous events in the Colony’s history such as Separation Day (1 July 1851), the sitting of the first Legislative Council (13 November 1851), the death of Burke (June 1861) and the Black Thursday bushfires (6 February 1851) are depicted. In 1907 the Premier of Victoria Thomas Bent purchased "Victoria the Golden" from Strutt for £120 and presented it to the Library. The album depicts events in chronological order with what Strutt considered “fidelity to nature and accuracy”, so that present day Victorians may view the sketches “as records of what we may now look upon as the dim past in the rapidly progressive history of Victoria”. Victoria the Golden is celebrated as one of the Parliament’s great treasures. It is a testament to William Strutt’s skill as a draughtsman and contains over 100 assorted images which were executed between the years of 1850-1862. Strutt’s particular talent was to be able to step back and record each event with particular care to detail. Many of the pieces contained within this album are littered with notes, such as the correct resting position of a corporal’s sword or details about the cloth and cut of a subject’s jacket. Strutt also notes in one of his many sketches of the new Legislative Council chamber at Spring Street that the President, Sir James Palmer, is seated ‘a little too high’ (page 30). Throughout the album, Strutt’s illustrations bring to life the diverse nature and peoples of the new colony. His range of subjects is comprehensive and includes parliamentarians, lawyers, wives and daughters, merchants, labourers, police and military officers, indigenous communities, farmers, miners, prisoners and explorers. The everyday and the extraordinary are depicted with each turn of the page. 44 leaves heavy card, approximately 1mm thick. Sketches, watercolours and prints of varying sizes and papers are glued onto the pages. Full leather binding in blue leather with title and decorative border in gold. There are four raised bands on the spine, with gold decoration on the bands and at the head and tail of the spine. Marbled end papers and flyleaves. Gold on the edges of the book block. Card pages have a sheet of mottled blue paper on recto. Album leaf connection is a guarded system with stiff stubs and cloth hinges. Each page has a sheet of glassine paper attached at the binding edge to protect the images. Many pages stamped with "Parliament of Victoria" verso. Printed in gold, recto: "VICTORIA THE GOLDEN/ SCENES,/ SKETCHES,/ AND JOTTINGS FROM NATURE./ BY/ Wm. STRUTT/ MELBOURNE, VICTORIA./ 1850-1862" First pages include handwritten 'introductory remarks' and index of plates.parliament of victoria, colony of victoria, separation day, victorian legislative council, burke and wills expedition, wills, william john, 1834-1861, burke, robert o'hara, 1821-1861, strutt, william, 1825-1915, bent, thomas sir, 1838-1909, native police corps, fawkner, john pascoe, 1792-1869, black thursday bushfires, gold rush, princes bridge, melbourne -
Parliament of Victoria
Photograph of John Pascoe Fawkner, 1857
This photograph of John Pascoe Fawkner was commissioned by artist William Strutt in 1857. In 1907 Strutt gave the photograph to Victoria's London agent, Mr. Lake, to be presented to the Victorian Parliamentary Library. In a letter to Mr. Lake now in the library's archives, Strutt describes how he had planned to make use of the photograph in his artistic practice, and when finished with it, had promised to give the photograph to the Victorian Parliamentary Librarian Charles Ridgway (c.1801-1865). "That time then has come, late it is true, but alas Mr. Ridgeway [sic] is dead, so is Fawkner, but the old patriot will ever live in this portrait".Framed ambrotype portrait photograph of John Pascoe Fawkner seated and wearing a smoking cap. Note from William Strutt adhered verso. The ambrotype is a positive photographic image on a glass plate mounted inside a glazed frame with a gold-coloured inner-frame/preserver (possibly celluloid) and black velvet-covered backing board. Handwritten black ink verso: "John Pasco [sic] Fawkner/ This admirable portrait/ of the Founder of Melbourne is now presented in/ fulfilment of my/ promise (made years/ ago to the late Mr/ Ridgeway) to present it/ to the Parliament House/ Library of Melbourne./ William Strutt./ Wedsmnt [?] Dec' 18.1007."strutt, william, 1825-1915, fawkner, john pascoe, 1792-1869, ridgway, charles c.1801-1865, victorian parliamentary library -
Melbourne Legacy
Photograph, Widow and Children statue dedication 29 September 1998, 1998
Photos of gathering at the Legacy Garden of Appreciation for the installation of the ‘Widow and Children’ statue by Louis Laumen - a Melbourne artist. The statue dedication was held on 29 September 1998. The plaque at the garden says “A living tribute to the generous support of Victorians for the work of Legacy. The sculpture symbolises the work of Legacy caring for the widows and children of veterans. The Flanders Poppies which bloom around November have their origin on the World War I battlefields of Belgium and France.” 00498.3 is the sculptor Louis Laumen with President Tom Butcher 00498.4 shows the sculptor Louis Laumen and a lady 00498.5 Legatee David Cull and a lady in uniform. 00498.6 and 00498.7 show legatees Lucky Luscombe and Tom Butcher with a lady, perhaps a Legacy widow.A record of the unveiling of the ‘Widow and Children’ sculpture in the Legacy Garden of Appreciation.Colour photo x 7 of the dedication of the Widow and Children statue.00498.7 has label attached "The Legacy statue was dedicated in 75th year at the Shrine of Remembrance"widow and children statue, statue, garden -
Melbourne Legacy
Photograph, Widow and Children statue dedication 29 September 1998, 09/1998
Photos of gathering at the Legacy Garden of Appreciation for the installation and dedication of the 'Widow and Children' statue on Tuesday 29th September 1998. The 'Widow and Children' statue was sculpted by Louis Laumen, a Melbourne artist. The photos show Legatees, including President Tom Butcher, making speeches, a crowd seated for the ceremony and some of the crowd singing. Also a girl laying flowers at the plaque which reads: "Legacy Garden of Appreciation. A living tribute to the generous support of Victorians for the work of Legacy. The sculpture symbolises the work of Legacy caring for the widows and children of veterans. The Flanders Poppies which bloom around November have their origin on the World War I battlefields of Belgium and France."A record of the 'Widow and Children' statue being dedicated in 1998.Colour photo x 8 of the dedication of the Widow and Children statue in the Legacy Garden of Appreciation.widow and children statue, statue, garden -
Melbourne Legacy
Photograph, Widow and Children statue, October 1989
A photo of the 'Widow and Children' statue in 1998. The 'Widow and Children' statue was sculpted by Louis Laumen, a Melbourne artist. The statue stands on a granite plinth in the cruciform shaped garden. There is a plaque which reads: "Legacy Garden of Appreciation. A living tribute to the generous support of Victorians for the work of Legacy. The sculpture symbolises the work of Legacy caring for the widows and children of veterans. The Flanders Poppies which bloom around November have their origin on the World War I battlefields of Belgium and France."A record of the 'Widow and Children' statue in 1998.Colour photo of the Widow and Children statue in the Legacy garden.Printing on the back " -
Ballarat Tramway Museum
Pamphlet, The Design Group, "Melbourne's Painted Trams", 1986
Pamphlet titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett Images 1 of the poster folded out, 2 of the front cover and 3 of trams 504 and 345. 2nd copy added 7-2-2016 from the collection of Ian Stanley. See Reg Item 7017 for a framed image of a poster produced from the first page or cover page of this poster.trams, tramways, decorated trams, transporting art, melbourne -
Ballarat Tramway Museum
Programme, Artistic Licence, "Transporting Art", 1983
.1 - Folded A2 (into A4 sheets) printed on gloss paper, featuring headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983 .2 - three page A4 document - stapled in the top left hand side "Transporting Art - Impressions of the Painted Trams Project" - listing photographs and photographers. See pdf file. trams, tramways, transporting art, decorated trams, exhibitions -
Bendigo Historical Society Inc.
Document - MERLE HALL COLLECTION: COLLECTION OF VARIOUS NON BENDIGO BASED PERFORMANCES
Collection of various (probably) non-Bendigo based performances - preliminary information re artists but no confirmation that performances resulted in Bendigo. Flyers and printed information re: ''As We Are'' (Beverley Dunn0 1979; Mark Kruger, pianist 2000; ''Carboni'', Bruce Spence - with info re various Victorian performances (no printed date); 1979 correspondence re Terpodian Trio; correspondence and flyer re Odyssey Big Band 1979. -
Bendigo Historical Society Inc.
Document - MERLE HALL COLLECTION: BENDIGO PERFORMANCE OF ''MOVING HARPS'' (TRIO)
Bendigo Performance of ''Moving Harps'' (trio) - A4 and A3 flyers for performance October 1994/1995; promo sheet with information about musicians; ''sheet on 'what the critics said''; Arts Bendigo copy for Advertiser, Gazette ABC and 3CCC; newspaper ad with handwritten notation ''1995?''; newspaper cutting (Advertiser?) re concert with handwritten annotation ''8.10.94''.; fold-out coloured 'glossy' promotion sheet with coloured photo of trio with harps (to accompany CD?); Victorian Arts Council - Touring Unit 1994 AGM Showcase Artist Information Sheet. -
Bendigo Historical Society Inc.
Photograph - MERLE HALL COLLECTION: PHOTOGRAPH OF REG LIVERMORE IN ''WISH YOU WERE HERE''
B&W photograph of Reg Livermore in ''Wish you were here''. Touring Victoria with the Victorian Arts Council. Livermore is the strident battleaxe Gloria and her derelict ex-husband Leonard Dover and their only child Nola.Photo of artist heavily made up in rough garb. -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING. DIGGERS AND MINING
... Diggers & Mining: Diggers & Mining.Silde reads: The artists...: Diggers & Mining.Silde reads: The artists of the Victorian gold ...Diggers & Mining: Diggers & Mining.Silde reads: The artists of the Victorian gold era - Gill, Strutt, von Guerard and others - drew nearly all of their pictures of the diggings in the first half of the gold decade: con-sequently this unit of these filmstrips deals mainly with life and work on the diggings only between 1851 and 1855. Markings:54/ 994:LIF1. Used as a teaching aid.hanimounteducation, tertiary, diggers & miners -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Charles E. Gordon Frazer, Sir Thomas Bent, 1892
When Thomas Bent, politician and land speculator, was appointed Speaker of the Victorian Legislative Assembly in 1892, a number of local Brighton constituents and supporters raised money to present him with an oil portrait. Bent had been a member for Brighton for 21 years, and the painting was seen as a way of showing their appreciation of his services to the Brighton constituency, as well as congratulating him to his new position as Speaker. In June 1892, British/Australian landscape and portrait artist Charles E. Gordon-Frazer was given the commission to paint the portrait. Thomas Bent is depicted as standing in his Speaker's robe on the dais beneath the canopy in the Legislative Assembly Chamber in the act of addressing the House. He wears the traditional Speaker’s dress of a black silk and gold laced robe over a three-piece black suit, lace jabot and cuffs, buckled shoes and a ceremonial long wig. The top of the gold parliamentary mace sits on the right of the work near the frame's edge.sir thomas bent, thomas bent, speaker, mayor, premier, brighton, moorabbin, land speculator, local government, councillor, official, member of lower house, portrait, parliament, ceremonial robes, legislative assembly, jabot, wig, mace -
Bendigo Historical Society Inc.
Letter - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT LETTERS, 1994
Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters and agreements listed below from March 1994 to 1996 31 March 1994 To: Vcitorian Arts Council Members From Grant Finck Project Coordinator Content: Intoduces himself as the coordinator for 12 months; to members looking for expression of interest, includes Information Sheet 1994 on what the Creatvie Village is. 27 October 1995 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Granting access to the Victoria Hill site for small quantities of geological material. 10 January 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Endorsement of the project by the Council and confirmation that the Council will provide preliminary site wrok to allow the project to be enabled. Also advised the Arts Bendigo Mosaic Projectmakes contact with the Salvation Army (New Work Oppurtunity Project) 27 February 1996 To: Mrs Mearle Hall From: Ken Beasley Manager Project Development The Smith Read Training Group. Content: LEAP Project Proposal - Mining Heritage Mosaic outlining the benefites of using LEAP Trainees to undertake the project. Proposed Scope of work outlining responsibilities of each participant. Bendigo Mining NL Environmental Trust Fund ( Perseverance Exploration and Department of Energy and Minerals Victoria representatives) 27 June 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Advising that the Council will match dollar for dollar funding for the engaement of an artist to supervise the construction of the Mosaic in Upper Rosaling Park up to $3,500. 22 July 1996 To: Anne Buzza From: Geoff Brown Camp Hill Primary School Content: Thanks for using and manageing the school students to help create tiles. 9 October 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Enclosed cheque for matching grant of $3500 15 October 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Agreement to relocate the project facilities to the car park and to maintain a close liaison between the Council and Arts Bendigo. 13 November 1996 To: Mrs Mearle Hall From: The Sidney Myer Fund Helen Morris Research Officer Content: Remittance advice for $1000 22 April 1997 To: Mrs Mearle Hall From: John Little Administrator Victorian Arts Council Content: Remittance advice for $500 towards the project and enclosing 12 VAC Annual reports. 20 October 1998 To: Mrs Mearle Hall From: City of Greater Bendigo, Andrew Hall (Director Community Development) Content: Advising that the Council will make a grant of $1090 for the purpose of printing of Brochures for Bendigo Heritage Mosaic. A service agreement to be signed before the issue of the grant, 21 March 2001 To: Mrs Mearle Hall From: City of Greater Bendigo,Justin Hanney (Director Community Services) Content: A reference from Council supporting the project application to Vic Health for the development of a series of small mosaic pieces along the linear pathway asjacent to the Bendigo Creek. 12 November 1996 To: Mrs Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being first payment as under contract two for mosaic project. 4 December 1996 To: Mrs Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being second payment as under contract two for mosaic project. 27 July 1997 To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Cheque for $2000 being final payment as under contract two for mosaic project. 12 June 1997 - Two copies To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Agreement between Maery Gabriel (The artist) and Arts Bendigo Inc. to complete the final two sections of the Bendigo Heritage Mosaic at the base of the Rosalin Park Poppet Head, Bendigo with a design of approvximately two square metre within each section. The work to be completed by the endo of July 1997, unless severe weather conditions make the laying impossible. Agreement for two lots of $2000. 14 June 1996 From: Maery Gabriel Mosaic Artist To: Arts Bendigo Inc. Content: receipt for 50% payment for two weeks and $60 Travelling expenses. 21 May 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) o f the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental threrto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and condisitons heinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5400 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo 1 November 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) o f the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental threrto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and condisitons heinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5000 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo, plus transfer of the diamond saw purchased by AB 28 August 1996 Memorial to Bendigo’s Mining Heritage and Traditions finacial and other support as at August 128th Arts Bendigo Financial contribution: $7000 Local Busine Sponsors: $2800 City of Greater Bendigo Matching Above: $2800 City of Greater Bendigo Site works: Equiv, $12000 Local Businesses and institutions supplying goods and services to total value of: Equiv: $7600 Expenditure: Purchase of equipment, including diamond saw: $2000 Purchase of materials: $800 Artists design fees: $3000 Artists on site work, travel and accomodation: $12000 insurance, administration etc.: $700 31 May 1996 List of possible donors checklist Undated Budget Sheet 21 September 1995 From: the Victorian Arts Council To: City of Greater Bendigo Content: Ivoice for $5000 10 december 1995 From: Maery Gabriel artist To: Arts Bendigo Content: Invoice $1575 for design of Rosalind Park Lookout. 45 hours @ $35/hour 1 October 1996 Historic mining Mosaic Pavement, Rosaling Park Poppet Head Financial Statement as a October 1st 1996 28 October 1996 From: Maery Gabriel To: Ann Buzza (representing Arts Bendigo) Report on project of Rosalind Park Mosaic as at October 1996. The report lists the difficulties faced with the weather, unsuitable facilities on site and problems with the LEAP team labour. -
Ballarat Tramway Museum
Postcard, Commonwealth of Australia, Sturt St Ballarat, c1910
Image is taken from the National Mutual building on the corner of Sturt and Lydiard Streets, looking east towards Grenville St. Has an ESCo tram with blinds drawn nearing the intersection. The tramcar number could be 12, 13 or 18. There are a number of horse drawn cabs in the photograph. The Burns statue is on the left side. There are telegraph/telephone poles in the photograph along with the buildings on either side of the streetYields information about Sturt Street east of Lydiard St.Black and white postcard with a green (18mm wide) border acting as a frame to the postcard picture. The picture measures 50mm High x 98mm wide. Has a Victorian Two Pence stamp with a "168" cancellation stamp. The card has been published by the Commonwealth of Australia with a coat of Arms. In the bottom left hand corner is a symbol "HB" within an artists paint palette.On rear is a note to a Miss Audersau of Launceston.sturt st, grenville st, esco, horse cabs, trams, tramways, ballarat -
Ballarat Tramway Museum
Postcard, Commonwealth of Australia, Drummond St Ballarat, 1909
The photograph is marked "Drummond St. Ballarat" In the background is the Ballarat hospital, with a cab stand/shelter shed with two horse-drawn cabs at either end. Large trees in Drummond St. - conifers. Also shows other tram track and poles at the time of the photograph being taken. The ESCo tram is not fitted with windscreens. The second copy has an undated letter on the rear. with a handwritten note "1911 period"Yields information about the Ballarat Hospital c1909.Black and white postcard with a green (17mm wide) border acting as a frame to the postcard picture. The picture measures 49mm High x 97mm wide. Has a Victorian One Penny stamp with a "168" cancellation stamp and two cancellation stamps, one Ballarat 7/7/09 and the other with a large "5" in the middle.. The card has been published by the Commonwealth of Australia with a coat of Arms. In the bottom left hand corner is a symbol "HB" within an artists paint palette.Short message from "Nell" to her sister Jean Hall of Blackwood.esco, horse cabs, trams, tramways, ballarat, hospital corner, drummond st. -
Ballarat Tramway Museum
Functional Object - Tramcar, Melbourne and Metropolitan Tramways Board (MMTB), Tramcar 504, 1928
A four motor bogie drop centre combination tram of the Melbourne W2 class. Body built by the James Moore and Co. of South Melbourne as a W2 class tram. Delivered to the MMTB Preston Workshops where the electrical and mechanical equipment was fitted. Issued to traffic 18/4/1928. Allocated to Essendon Depot. The tram was part of the Transporting Art project suggested by the artist Clifton Pugh (1924-1990) in Jan. 1978 to the Lord Mayor of Melbourne Cr. Irvin Rockman. The concept was enthusiastically supported by Victorian Premier Rupert Hamer. Clifton Pugh's tram was the second tram to appear. Described by the artist as "The apostle birds in flight, as if the tram has run into a group of them and they're flying along the sides. Then I found the route was to be through Collingwood and Hawthorn football territory and one cannot be one-eyed in that worlds, there are a magpie and a hawk on each side." The tram was retained by the State and stored until 2015 when it was transported to the Museum's Offsite store. Formal ownership was transferred to the Museum during 2019. Conservation planning for the tram's return to service and the restoration of the artwork is underway. 1986 - withdrawn from service following a minor accident and stored. In 2015 tram relocated to the Museum's offsite store and during 2019 transferred to ownership of the Museum. See btm.org.au/trams/504.html for further detail. Photos - i1 - Ray Marsh 1978 i2 - Alastair Reither - 3/6/2015 showing the damaged side. i3 - Clifton Pugh on board his tram. Photo from the Diners Club Signature Magazine April/May 1982, from an article titled Moving Masterpieces. Photo courtesy of the Melbourne Tram Museum. See Destination Citytrams, w2 class, transporting art, tram 504 -
Kew Historical Society Inc
Album, Louisa G Thomas, Victorian Era Sketchbook, 1862
Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection -
Kew Historical Society Inc
Work on paper - Entrance to the Kew Cemetery, Caroline Bell, c.1892
Boroondara General Cemetery, often referred to as Kew cemetery, is one of the oldest cemeteries in Victoria, Australia, created in the tradition of the Victorian garden cemetery. The cemetery, located in Kew, a suburb of Melbourne, is listed as a heritage place on the Victorian Heritage Register. Framed pastel drawing, donated to the Kew Historical Society in 1965 of the entrance to Boroondara General (Kew) Cemetery, believed to be drawn by the sister of the artist George Bell. The drawing shows one of the entrances to the Cemetery before the construction of the high brick wall in 1895. This would be consistent with the life of Caroline Bell (1872-1947). The artist's perspective is estimated to be near the west end of the cemetery, perhaps in Victoria Park.caroline ethel bell (1872-1947), boroondara general (kew) cemetery, victoria park -
Kew Historical Society Inc
Work on paper, Joy Stewart, Villa, Mountain Grove [Kew], ca. 1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of a Victorian villa in Mountain Grove, Kew by the artist Joy Stewart.Inscription: "Mountain Grove, Kew"joy stewart, artists - kew (vic), mountain grove -- kew (vic.) -
Kew Historical Society Inc
Painting, Herbert J Woodhouse, River Yarra Near Dights Falls, c.1892
Herbert James Woodhouse (1854-1937) was born in Essex and arrived in Australia with his family in 1857. A painter-lithographer like his father and three of his brothers, he was a prizewinner in the South Australian Society of Arts exhibition of 1885. He also received commendations in exhibitions at the Victorian Academy of Arts and the New South Wales Arts Society. At an exhibition of his paintings at Scott’s Hotel in Collins Street in 1892, the reviewer for Table Talk noted that the ‘artist paints almost solely in the open air, and his studies are generally carried out during the trips of the Victorian Sketching Club’. One of the paintings singled out for praise was: ‘A very effective river scene at Willsmere, aptly named A Midstream Mirror, ... a picture powerful in its effective reflection of sunlight in the river.’ Herbert Woodhouse died in Geelong in June 1937, aged 82, and was buried in the Eastern Cemetery. A number of his sketchbooks are held in the collection of the State Library of Victoria.Framed oil painting on board of the River Yarra at Studley Park, Kew, by Herbert James Woodhouse (1858-1937). The artist has framed the narrow painting with trees in the foreground and a view of the Yarra River and rolling hills in the background. Verso, written by artist: "River Yarra Near Dights Falls"australian art - 19th century, herbert james woodhouse (1854-1937), yarra river - studley park -
Kew Historical Society Inc
Architectural Moulding, Fragment of plaster and cement cornice from Southesk [Ordsall], 1870-80
'Ordsall', renamed 'Southesk' in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.Rare, and possible unique fragment of a plaster cornice from one of the most architecturally distinctive houses in Kew, demolished 1970.Section of plaster cornice removed from Southesk on the corner of Charles Street and Cotham Road, Kew, when it was demolished in 1970 by the City of Kew. The cornice has a narrow layer of previously coloured plaster which is now overlaid with a grey distemper. The foundation of the cornice is moulded cement. Remnant flowers moulded in the central band of the cornice include a rose and a sunflower. The plaster decoration was probably located in the entrance hall, dining room or ballroom, all of which were created in the 1870s by Michael Hennessy and decorated by the firm of art decorators, Cullis Hill & Co in 1882.Nilordsall, south esk, cullis hill, plasterwork, cornices, victorian interiors -
Kew Historical Society Inc
Work on paper, Joy Stewart, 74 Charles Street, Kew, c.1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88 she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a Victorian villa at 74 Charles Street, Kew.Inscription: "74 Charles Street, Kew." Signed lower right: "JStewart".joy stewart, charles street (kew) -
Kew Historical Society Inc
Work on paper, Joy Stewart, Peel Street, Kew, 1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a distinctive two-storey Victorian-era house in Peel Street, Kew. Inscription: "Peel Street, Kew." Signed lower right: "JStewart 1978"joy stewart, peel street (kew) -
Kew Historical Society Inc
Work on paper, Joy Stewart, 74 Charles Street, Kew, c.1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a Victorian-era villa at 74 Charles Street, Kew. Inscription: "74 Charles Street, Kew." Signed lower right: "JStewart".joy stewart, charles street (kew) -
Kew Historical Society Inc
Work on paper, Joy Stewart, 63 Wellington Street, Kew, c. 1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a two-storey Victorian-era residence located at 63 Wellington Street, Kew. Inscription: "63 Wellington Street, Kew." Signed lower right: "JStewart".joy stewart, wellington street (kew) -
Kew Historical Society Inc
Work on paper, Joy Stewart, Merritt House, Roberts House and Roxeth House, Trinity Grammar School, c.1978
Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of Victorian buildings that comprise Trinity Grammar School - Merritt House, Roberts House and Roxeth House by the artist Joy Stewart. c.1978Inscription: Trinity Grammar School". Unsigned.joy stewart, roxeth house, roberts house, merritt house, trinity grammar school