Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Mr Meek was the first person to build a house in Peterborough prior to 1858. Born in England in 1815 and came to Australia in 1838. this catalogue showcases his artistic skill. The art exhibition was curated by Joan Luxemburg as part of her PHD.Mr Meek is credited with building the first house in Peterborough. He was an artist and had a varied and interesting life and this book mentions the dates he was in Peterborough (Curdies Inlet, as it was then known) and his activities in Peterborough. 85 page soft cover catalogue of an exhibition held at the Art Gallery of Ballarat in 2015mr james mckain archibald john meek, calligraphy, calligraphic works, graphic arts, joan luxemburg, peterborough, curdies inlet

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Winner of Expressions 2008: The Wool Quilt Prize Artist Statement: 'My friend Vriginia named this quilt for me and I thought "of course". A ladder is a means of rising or climbing and I began this work woth a sense of freedom. In this case freedom from entrapment of thought, feeling and creativity.'W7184 'Green Ladder' Catalogue for 'The New Quilt 2003: an exhibition of contemporary quilt textiles' Jo Steele's entry in 'The New Quilt 2003' catalogue Jo Steele's Curriculum Vitae Photocopy from Quilters Guild Magazine, 1998. Jo Steele's 'Eggshells & Iron Bars' Photocopy from catalogue '2002: One step further marvellous minatures', including Jo Steele's entry. Photocopy from '2007 Australian Cotton Fibre Expo'. Jo Steele entry 704. Includes first prize certificate for Section 7: Contemporary Quilting and Patchwork. Certificate awarded to Jo Steele for 'Chill Out!' 2004. Winner 'Fashion Extravaganza' Category. Photocopy from catalogue for 'Territory Craft 30th Alice Craft Acquisition'. Jo Steele entry 133. Photocopy from catalogue for 'The 29th Alice Craft Acquisition'. Jo Steele entries 143 and 144.Jo Steel 34 Neale Street Katoomba 2780 NSW 0413 074 604 'Green Ladder'quilting textile art, steele, ms jo, quilting, textile art

This work is the result of a series of interviews with committee members of 69 Smith Street Gallery, an artist-run gallery that operated in Collingwood between 1998 and 2016. These interviews taken between 2010 and 2011 feature artists who went on to form the creative group known as the 69 Collective.This work was part of The Line exhibition at Collingwood Gallery in 2018. The brief given to participating artists was to present works using the theme of the horizontal line. The artworks, in a range of mediums, were hung with a consistent line travelling through each piece around the perimeter of the gallery space. The line in each work, inferred or explicit, were carefully placed together to make this cohesive whole.oral history, video, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, merle parker, julian di martino, marianne little, 69 collective, jenny gibson, art, video art

Ghost Blanket IV won the 'Award for Excellence' at Ozquilt Network's biennial juried exhibition Art Quilt Australia for 2021. The quilt presented with the Award for Excellence is acquired into the National Wool Museum's Collection dating back to 2000 with the art quilt "Earth Blanket". Artist statement: In "Ghost Blanket IV", woven checked blankets are deconstructed and reimagined to create an appliquéd work with the feel of lace. It celebrates the natural colours of alpaca fleece and the qualities of felted, woven fabric.Woven black white and grey checked design appliqued onto silk organza.ozquilt, quilt, art quilt, wool

Part of the Zakrzewski Collection of spinning wheels donated to the National Wool Museum by Mr Wlodzimierz Zakrzewski. For many years, Mr Zakrzewski collected, researched and repaired spinning wheels from all over the world. This wheel is known as a Carrington wheel. It was designed and built by Mr Zakrzewski who made 400 similar wheels of three different designs over a 30 year period. The design was named for his wife, Sonya Carrington who was a Polish artist and teacher who became a well known tapestry weaver. She married Mr Zakrzewski in 1956 and continued to exhibit under her own name. As it was difficult in the 1950s to obtain tapestry wools she decided to spin and dye her own. She didn't have a spinning wheel, so Mr Zakrzewski, whose training was in engineering, offered to make her one. They became very popular and he continued to make and sell them.Part of the Zakrzewski Spinning Wheel collection.handicrafts - history, spinning wheels, carrington wheel, highlights of the national wool museum: the zakrzewski spinning wheel collection - exhibition (28/07/2001 - 02/12/2001), zakrzewski, mr wlodzimierz carrington-zakrzewska, mrs sonya

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

‘Dressage Quilt’ was made by Jan Ross-Manley for the Running Stitch exhibition Wool Quilts Old and New in 1985. The quilt is made from the sashes of winning female participates of Equestrian Sports in Victoria. The central diamond is divided into quarters, one for each woman who won the ribbons. The piece is about dedication, strength, exertion and achievement. The artist's statement reads: "I have been collecting pennants and sashes for some time now, intending to collate a series of pieces on Australian country life and people. This is a woman's quilt, made entirely from 'horse' sashes won at competition. The central diamond is divided into quarters, one for each lady who won the ribbons. 'Hurdles' are set into the inner borders. The piece is about dedication, strength, exertion and achievement. The all pervading yellow letters cast a tawdriness over the otherwise clean colour scheme." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989.Large quilt consisting of numerous winning horse sashes sewn together to create a patchwork quilt separated into quarters, bordered by a royal blue trim. The centre of the quilt is a diamond shape made from various pink cotton strips and bordered by multi coloured horses heads. The quilt is backed with blue cotton and has a polyester fill.quilting history, patchwork history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), ross-manley, ms jan, quilting - history, patchwork - history

This quilt is called "Anzac Anniversary" and was made by Lois Densham in Melbourne in 1985. Lois Densham was a member of the Running Stitch group of quilters. This quilt was displayed in "Wool Quilts Old and New", a touring exhibition presented by the Running Stitch quilters group in 31 Jan. 1986 to Feb. 1987. It was catalogue entry no. 3. The artist's statement reads: "A veil of violence over a calm surface. Violent angles of the tartans and plaids with elongated curved segments which bring to mind Scottish warfare and Australians with Scottish forefathers. I began this quilt because of Anzac Day and the 70th anniversary of the First World War. Anzacs rededicate themselves yearly to peace within their circle of family and friends." This quilt was later exhibited in an identically titled exhibition held at the National Wool Museum in 1989.Quilt - "Anzac Anniversay" by Lois Densham, Melbourne, 1985anzac day, handicrafts quilting, running stitch group, running stitch collection, masters of technique: creators on cloth - exhibition (15/06/2001 - 22/07/2001) highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), densham, ms lois, handicrafts, quilting

Quilt called "Diversions" and made by Barbara Macey in Melbourne in 1985. Barbara Macey is a founding member of the Running Stitch group and its sole remaining member. This quilt was part of a touring exhibition called "Wool Quilts Old and New" presented by Running Stitch, 31 Jan. 1986 to Feb. 1987. It was catalogue entry no. 6. The artist's statement reads: "Being of Scottish descent, I was most interested to discover the Scottish Herringbone quilt, made of pieces of wool tweed, sewn herringbone fashion, to strips of fabric later seamed together to make a quilt. Having a variety of wool fabrics to work with inspired this interpretation of a traditional idea." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989."Diversions" by Barbara Macey, 1985.quilting, handicrafts, running stitch group, running stitch collection, masters of technique: creators on cloth - exhibition (15/06/2001 - 22/07/2001) highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), macey, mrs barbara

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.Painting of a ship called the Cutty Sark.cutty sark, exhibition, wool, australia, china, sailing, ship, woodget, moodie, london, willis dumbarton, scott & linton, william denny, tea, cargo, immigration, trade, chinese

non-fictionAn article stating pupils of Nunawading artist, Jan McBride will give an exhibition at the Mitcham Arts Association in June 1973mitcham repertory group, mcbride jan, mitcham arts association

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Watercolour landscapearthur lindsay, watercolour, landscape, artist

Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton

In the days before television advertising and the WWW, commercial artists such as John Whittenbury designed posters, railway billboards and trade exhibitions advertising products and services to the masses. Whittenbury’s series of quirky Christmas mail posters for the Post Masters General Office, now known as Australia Post, were displayed in post offices across Australia. He had a wealth of experience in the field, having worked as an illustrator, graphic designer, cartoonist, and mechanical draftsman for the RAAF in Laverton and then Victoria Barracks, and also taking out a qualification in Advertising Art from RMIT in 1961, prior to joining the PMG. Ann Carew, 2017 australia post, christmas, rmit design archives

A gift from the Turkish Consulate for the 100th Anniversary of Gallipoli.A framed gravure print by Erol Yildirim, edition is numbered as 48/100, and dated as 2015. The subject matter is concerned with Turkish military campaigns. On the revers of the print is a label with the following information. 'Biography of the Artist / Colonel Erol YILDIRIM (Ret'd) Born in 1959 in Bolu / Turkey, he completed his secondary education in Izmir, and began his military education at the Army War College in 1977. His career in arts started by attending the art club of the military college. He has organised 9 private exhibitions and taken part in 52 group exhibitions. He has won the following 8 awards. - 2009, 2010, 2011, 2012, 2013, 2014 Artmajeur Silver Awards - 2014 The XV Ex lib's Biennial as 'Selected exlibris' Miata Museum Ostrow Wielkopolski - POLAND - 2014 The 3rd Guangzhou International Exlibirs and Mini Print Biennial as 'selected exlibris guangzhou china' erol yildirim, turkey, print, artworks, war, turkish soldiers

.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 Performance of the ''Craft and Beyond'' - Stapled catalogue of items in the ''Craft and Beyond'' exhibition of 30th July - 6th August 1983. (Arts Bendigo in conjunction with the Crafts Council of Victoria). Convenor; Helen Harrison.Includes thanks to various organizations involved. 211 items listed by name of artist and includes sale price where relevant.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.