Showing 1989 items
matching colour and design
-
Kew Historical Society Inc
Slide - Architectural Drawing, Kew Public Offices, 1887
A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State Of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. 35mm colour transparency of an original plan by George Watson and John Henry Harvey, architects of the Department of Public Works (Victoria), in 1887 for New Public Offices at Kew. This plan was copied by the donor from an original held at the Commonwealth Archives in Brighton (Vic). The copy was made to illustrate a report that the donor made on ‘The functional planning design, building materials and construction methods of the Kew Post Office’ as part of course work at RMIT.SECTION H-H / SECTION C-D / SECTION J-Jkew court house, kew police station, kew post office, architectural drawings, khs - slides, new public offices -- kew (vic.), architecture — queen anne style -
Kew Historical Society Inc
Slide - Architectural Drawing, Kew Public Offices, 1887
A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State Of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. 35mm colour transparency of an original plan by George Watson and John Henry Harvey, architects of the Department of Public Works (Victoria), in 1887 for New Public Offices at Kew. This plan was copied by the donor from an original held at the Commonwealth Archives in Brighton (Vic). The copy was made to illustrate a report that the donor made on ‘The functional planning design, building materials and construction methods of the Kew Post Office’ as part of course work at RMIT.kew court house, kew police station, kew post office, architectural drawings, khs - slides, new public offices -- kew (vic.), architecture — queen anne style -
Kilmore Historical Society
History of England, 1846
Whittaker's improved edition of Pinnock's Goldsmith's History of England, from the invasion of Julius Caesar to the death of George 11., with a continuation to the present time; also, a dictionary, biographical, historical &c. explaining every difficulty, and rendering the whole easy to be understood; and questions for examination at the end of each section: besides a variety of valuable information added throughout the work....Brown leather-bound hardcover book, very worn extremities, tear to upper spine. Embossed cross-hatch design on leather with embossed border. Staining lower right front, loss of colour back & front. Scored damage to front. Flyleaf torn with piece missing upper right. Front hinge separated, binding loose. 2nd flyleaf stained. Foxing and discolouration of page edges. 519 pp. Poor condition.Inside front cover, label advertising Fulton & Knight's Pronouncing Dictionary, 'T & C Buck/1846'. Front flyleaf, ' [missing] Buck/ [indecipherable] school/1846'. Front 2nd flyleaf, 'Thomas Buck/Mounted Constable/Kilmore District/June 1856'.history of england, thomas buck, mounted constable, kilmore -
Melbourne Tram Museum
Document - Report, Comeng - Commonwealth Engineering, "Comeng (Victoria) Light Rail Vehicles", c1987
Report - 14 colour A4 sheets + two card covers bound with white comb binding titled "Comeng (Victoria) Light Rail Vehicles", detailing the trams or light rail vehicles built for Melbourne. Details the company, its capability, plant in Dandenong, Design using CAD systems, tram production photographs, details of the B class, A and Z3 along with description and engineering details including drawings of each unit.trams, tramways, comeng, commonwealth engineering, b class, a class, z3 class, tram bodies, bogies, light rail, tramcars -
Warrnambool and District Historical Society Inc.
Book, An Interior Decorator’s World, 1969
This book is the autobiography of Margaret Lord, a noted Australian interior designer, journalist, colour consultant and author. Born in Warrnambool to Margaret and Henry Lord the author studied art in Melbourne and London and became an interior decorator. In the articles she wrote for the Australian Home Beautiful magazine she promoted Australian interior design and materials. Her 1924 book, ‘Interior Decoration – A Guide to Furnishing the Australian Home’, was the first Australian monograph on interior decorating. She was the first in Australia to establish the role of the interior designer consultant and in 1950 she was one of the founders of the Australian Society of Interior Designers. This book is of considerable importance as it is the autobiography of Margaret Lord, the noted Australian interior decorator and writer. She was born in Warrnambool and this is the only item we have that records her life achievement as a pioneer in Australia of interior design. This is a hard cover book of 215 pages. The hard cover is white with silver-coloured printing on the spine and the dust cover has a cream background with black and pink printing and the image of a pink rose. The pages contain an introduction, a preface, ten chapters of text and an appendix. margaret lord, interior designer, history of warrnambool, australian society of interior designers -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Sandra Johnstone, Salt Glazed Platter by Sandra Johnstone, c1985
Sandra JOHNSTONE (1936-Jan 1991) Born Southern California, USA Worked California, USA Sandra Johnstone was awarded a MA in Ceramics and an MFA in Plastic Arts at San Jose State University, where she later also lectured. Specialiing in functional and sculptural forms, with emphasis on wheel-thrown shapes and salt-glazed stoneware and porcelain, her work is best known for salt glazing, using surface texture and colour to enhance the character of the clay. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Salt glazed platter. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artist, artwork, gippsland campus, jan feder memorial ceramics collection -
Geoffrey Kaye Museum of Anaesthetic History
Equipment - Cylinder, Medical Compressed Air
Early cylinders were coloured as their maker saw fit, usually black, perhaps with a white top for oxygen. The Americans first achieved standardisation, but other countries do not follow American Standards. Australia follows the colour-scheme of the British Oxygen Corporation. The body is coloured individually for each gas, viz: compressed air, grey; carbon dioxide, brown; oxygen, black; nitrous oxygen, blue’ cyclopropane, primrose-yellow’ ethylene, mauve. Panels of other colours may appear on the body, but indicate technical points of cylinder-design and do not concern the anaesthetist. (Penn catalogue entry)Empty small pale green painted cylinder with rounded base and attached outflow valve with circular 'On-Off' knob.Handwritten in red paint across the main body of the cylinder: ST. VINCENTS 32510 Printed on manufacturer's label: 'KEEP CYLINDER COOL / CIG [logo] / MADE IN AUSTRALIA / MEDICAL AIR COMPRESSED / DO NOT ALLOW OIL OR GREASE ON VALVE / OPEN VALVE SLOWLY CLOSE AFTER USEcompressed air, cylinder, colour standardisation -
Federation University Historical Collection
Container - Artists' Book, Re_Designed / Solid, Liquid Gas, 2000
Promotional catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2000. Custom designed plastic pack containing 20 sheets of recycled printed and overprinted student works, plus a CD Rom. The contents are representative of multiple variations across packs. The clear polypropylene pack is printed in yellow and a clear varnish. The original (1997) works are offset printed in black and silver, the overprint (2000) works are in full, four process colour. CD Rom printed two colours (yellow and very dark teal) single sided. Refer item 29168.1 for screen captures from this CD Rom. Third year, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating class promotional pack. Students responded to the concept of "past, present and future". These new works (year 2000) were then overprinted onto unbound sheets of the 1997 graduating student project "Silver Screen" to create entirely different pieces to "challenge the conventional boundaries of the printed image" and elicit "environmental awareness". As such, each pack contained different combinations of original (silver and black) and overprint (full colour) designs. "Re-designed" (2000) overprinted works by Belinda Janetski, Ben Sanders, Angelina Teo, Selina Shillito, Justin Weyers, Andrew Strack, Debbie Ferris, Yuri Tanabe, Nandor Rakosi, Jason Grace, Wes Prendergast, Michael Fennelly, Brett van Lieshout, Derek Fong, Abby Vanstan, Vince Luc, Lynette Heenan, Van Sanders, Sam Harmer. Original (1997) "Silver Screen" works created by Ben Mangan, Russell Kerr, Luke Keys, Travis Prices, Karen Grinter, Rosie Busuttil, Peter Horvat, Felix Lee, Karl Chandler, Matt Bowman, Adam Laszczuk, Narelle Pietsch, Natasha Pietsch, Jenny Tyquin. Back cover lists sponsors. Custom designed plastic pack containing 20 sheets of recycled printed and overprinted student works, plus a CD Rom. The contents are representative of multiple variations across packs.university of ballarat, federation university, graphic design, multimedia, belinda janetski, ben sanders, angelina teo, selina shillito, justin weyers, andrew strack, debbie ferris, yuri tanabe, nandor rakosi, jason grace, wes prendergast, michael fennelly, brett van lieshout, derek fong, abby vanstan, vince luc, lynette heenan, van sanders, sam harmer -
Glen Eira Historical Society
Article - Memorials in Glen Eira
This file contains 11 items relating to War Memorials in Glen Eira: 1/Black and white photograph, undated, source unknown, of Caulfield Park War Memorial 2/Copy of photograph of Caulfield Park War Memorial, undated, source unknown 3/Colour photograph of Caulfield Park War Memorial, dated June 1982, source unknown, and slide of same 4/Print of webpage of Friends of Caulfield Park, dated 02/08/2013 with colour image of and information about the war memorial there 5/Two black and white photographs, undated and source unknown, of war memorial at Koornang Park 6/Four colour photographs and one black and white copy of photograph of war memorial and its inscription at Koornang Park. Date and source unknown 7/Article dated 30/04/2013 from GLENEIRA LEADER about funding for plaque for Lone Pine at Caulfield Park 8/Article dated 23/04/2013 from THE AGE about state funding for repair of war memorials including one at McKinnon 9/Article dated June 2013 from GLEN EIRA NEWS about state funding for repair of five WWI memorials in Glen Eira. Includes two photographs. 10/Article from GLEN EIRA NEWS dated April 2012 about restoration of Caulfield Park War Memorial. Includes colour photography 11/A booklet titled 'The Burra Charter and its Application: Essay 3: War Memorial, Caulfield Park', written in October 2000 by Eleanor Bishop. The booklet contains a conservation analysis, statement of cultural significance, statement of conservation policy, and conservation management plan for the Caulfield Park War Memorial. This includes a brief history and description of the Caulfield Park War Memorial, and 7 colour photographs of the memorial dated September 2000, 2 undated black-and-white photographs, and a copy of the original drawing of the memorial which won its design contest in 1930.monuments and memorials, war memorials, plaques, world war 1914-1918, caulfield park, friends of caulfield park, ritchie mr, world war 1939-1945, koornang park, city of caulfield, glen eira, glen eira council, mckinnon war memorial, hopetoun gardens, hyams jamie, mckinnon, lobo oscar, esakoff margaret, hyams jamie, delahunty ms, caulfield rsl, kiernan noel, bishop eleanor, caulfield park war memorial, foot henry b., parks and reserves, paddy's swamp, caulfield, royal victorian institute of architects, caulfield municipal council, architectural competitions, schefferle n. mr, architectural features, conservation management plan -
Melbourne Tram Museum
Drawing - Illustration, St Paul's Cathedral, "Engraving of Prince's Bridge and St Paul's Cathedral, Melbourne 1889", 1992
Illustration - colour engraving printed onto white card, titled "Princes Bridge" showing the planned St Paul's Cathedral, Flinders St Station, Princes bridge with cable trams and the Yarra River with steam powered boats. On rear - "Engraving of Prince's Bridge and St Paul's Cathedral, Melbourne 1889" with a note that it was drawn before the completion of the cathedral the design shows in that intended by the Architect, William Butterfield and that it was from the collection of St Paul's Cathedral.trams, tramways, yarra river, st pauls cathedral, melbourne, greetings cards -
Bendigo Historical Society Inc.
Book - VAHLAND DRINKING FOUNTAIN
12 page soft cover booklet 'Vahland Drinking Fountain' A brief history of the drinking fountain designed by Carl Willhelm Vahland and its restoration and reinstatement at what is now William Vahland Place. (an extension of Bull St). Iluustrated with B&W and colour photos and a sketch showing its location. Drinking fountain unvelied in new location in 2016 Published by City of Greater Bendigo Photo of Vahland c.1860s on back cover.Don Goldsworthy -
Federation University Historical Collection
Booklet - Catalogue, This year is yet to be classified, Advanced Screening, 2002
The University of Ballarat department of Graphic Design / Multimedia Classification, "This year is yet to be classified", Advanced Screening. Promotional catalogue of University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) student work, 2001 or 2002. Each student has contributed a movie-poster style graphic, incorporating their email address. Portrait spiral bound book, pages are four colour process offset printed onto transparent acetate, white card back and fold to read each page. 28 Students: Alex Gillet, Andrea Read, Peta Wallace, Michelle Allen, Matt Avent, Andrew Isaac, Reuben Barnett, Fiona Woolley, e sawyers, Andrew Wapling, Hamish McDougall, Tim Allan, Jacqueline Orr, Lucy Brisbane, Leigh Scholten, L Webb, Ange Nastos, Marc Oswin, Simone Carras-Kerr, Michelle Berry, Heath McGregor, Naomi Craig, Amanda Brizzi, Anthony Boulton, Jess Steinke, Belinda Garth, Sonya Zwolinski, Danielle Harris. Promotional catalogue University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) student work, 2001 or 2002. Portrait spiral bound book, pages are four colour process offset printed onto transparent acetate, white card back and fold to read each page.alex gillet, andrea read, peta wallace, michelle allen, matt avent, andrew isaac, reuben barnett, fiona woolley, e sawyers, andrew wapling, hamish mcdougall, tim allan, jacqueline orr, lucy brisbane, leigh scholten, l webb, ange nastos, marc oswin, simone carras-kerr, michelle berry, heath mcgregor, naomi craig, amanda brizzi, anthony boulton, jess steinke, belinda garth, sonya zwolinski, danielle harris, university of ballarat, federation university, graphic design, multimedia, helmut stenzel, stephen roberts, elizabeth farlie, elise whetter -
Federation University Historical Collection
Work on paper - Fashion Illustration and Commercial Art, Alice Watson, Ballarat Technical Art School folio of Alice Watson, 1931,1932 and 1933
Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. These works include commercial art, advertising and catalogue illustrations as well as figure construction and fashion-plate designs. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Commercial artA folio of Fashion Drawing by Edith Alice Watson of the Ballarat Technical Art School. .1) Two women dressed in fashionable clothing- lhs tan ensemble and hat; rhs fuschia ensemble with black and white accessories plus fur stole. Signed lrs A.Watson. 1933. .26) The image with three women wearing a hats. This appears to be an example of ticket writing. Signed lrs "A Watson- 2nd term. 1932." .35) The image with a woman wearing a hat appears to be an example of ticket writing. Signed lrs "A Watson--11th-7-32." .23) female figure drawing. Signed lrs A.Watson. 1st Term. 1932 .21) female figure drawing. Signed lrs A.Watson. 2nd Term. 1932 .17) drawing of lips, side view. Signed lrs A. Watson. 1931 .18) drawing of lips,three-quarter view. Signed lrs A. Watson .37) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)alice watson, ballarat technical art school, art, drawing, figure drawing, alumni, costume drawing, fashion drawing, ticket writing, 1930's fashion, indian ink, edith alice watson, figure construction, advertising, commercial art -
National Wool Museum
Carpet Samples, Godfrey Hirst and CO. Pty Ltd, c.1990
Carpet samples created by Godfrey Hirst, a carpet mill whose history spans back to 1865 when the Victorian Woollen and Cloth Manufacturing Company began operations in Geelong and was purchased in the 1890s by the man Godfrey Hirst. Godfrey Hirst’s entrepreneurial skills and knowledge of the industry led to the great success which saw the company expand in multiple forms over the next century and a half. Today, thousands of metres of carpet are produced by Godfrey Hirst every day, and their flooring can be found in millions of homes. These 6 carpet samples date from the early 1990s and each have a unique colour pattern and design.Each carpet sample is made with a pile fibre that is 100% wool. The primary backing of the carpet is a woven polypropylene with a secondary backing a woven jute. Carpet 8102.1's colour name is Slate. It has a dark grey background with a red and blue diagonal stripe. The pattern repeats in a 10cm x 11.5cm block. Carpet 8102.2’s colour name is Terracotta. It is a mostly block pink colour with no repeating pattern. It has occasional flicks of grey. Carpet 8102.3’s colour name is Arctic Night. It has white, light blue and grey colours repeating one after another in a diagonal line. Carpet 8102.4’s colour name is Ivory. It has a brown background with a cream colour diamond. The pattern repeats in a 15cm x 15cm block. Carpet 8102.5’s colour name is Glenwood. It has a thin darker green and lighter green horizontal stripe spanning its entire width. These stripes repeat the height of the carpet. Carpet 8105.6’s colour name is also Ivory. It has a brown background with a cream colour leaf pattern. The pattern repeats in a 92cm x 92cm block.Wording on rear: Numerous. See Media.godfrey hirst, carpet, textile manufacture -
Melbourne Tram Museum
Newspaper, The Age, “No more tears, it's the trip of happiness”, 5/03/2019 12:00:00 AM
Newspaper clippings titled: “No more tears, it's the trip of happiness” Newspaper clipping from the Age 5/3/2019 Melbourne editor - Jewel Topsfield Dean Butler, creative lead at PTV's customer service division, has been lead designed of a new moquette to replace seat fabric on all trams, trains and buses in Victoria over the next 5 years. The moquette will come in 5 colours - blue for Metro trains, purple for v/Line trains, green for trams, and a darker colour being developed for buses. The fifth colour, bright orange will be used across the fleet for priority seating.trams, tramways, public transport, ptv, interiors, tramcars, railways -
Ararat Gallery TAMA
Functional object, Naniwa Kokoro, 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, 1981The furoshiki, the ubiquitous square of cloth that is used in Japan to wrap practically anything and everything to make it portable, appears here as the wrapper for boxes of dried bonito from a shop in Tokyo. There is, of course, no limit to design and colour among furoshiki, and they also vary in size, although the ones most commonly used are about three feet square. The furoshiki seen here are emblazoned with a character that has the doubly felicitous meaning of 'congratulations' and 'long life'. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Naniwa Kokoro, 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, 1981The furoshiki, the ubiquitous square of cloth that is used in Japan to wrap practically anything and everything to make it portable, appears here as the wrapper for boxes of dried bonito from a shop in Tokyo. There is, of course, no limit to design and colour among furoshiki, and they also vary in size, although the ones most commonly used are about three feet square. The furoshiki seen here are emblazoned with a character that has the doubly felicitous meaning of 'congratulations' and 'long life'. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Kew Historical Society Inc
Sign, City of Kew Crest, 1975-1994
The seal of the former City of Kew is held in the collection of the City of Boroondara, as is the Mayoral Chain of Office. The original design was circular and cast in high relief to allow impressions to be made. Later versions such as this modernise the style for a range of purposes.Four colour version of the City of Kew Crest, adopted by the Municipality in 1861 for use in its circular seal but later adapted as in this version for printing or for identification. There are two examples this version: both transfers designed to be affixed to Council vehicles. The collection includes 11 copies of the large transfers and one copy of the smaller version. The bright colours used were typical of the period. The large version is 375 x 295 mm; the smaller is 205 x 155 mm.CITY OF KEW / DIEU ET MON DROITcity of kew, crests, municipal crests -
Villa Alba Museum
Decorative object - Gilt metal fringe for furnishings
Board wrapped w c.17m of heavy bullion fringe in several pieces, evidently unpicked from curtains (qv), and/or possibly furniture items. The fringe is composed of metallic thread tightly wound over a cotton thread, attached to a narrow header braid with an ornamental design worked in metallic gimp cord. The colour was originally gold, now tarnished on all parts exposed to air, but sections of the fringe under the top layers retain the luxurious gold finish. -
Melbourne Tram Museum
Functional object - Seat Fabric Samples, Camira Fabrics, The Age, sample orange cloth, Jul. 2017
Seat fabric sample orange cloth as used in various trams with a light/dark triangular motifs / moquette with a orange background for use on trains, buses and trams for priority seating. See Reg item 4584 for the general seat colour - green. See htd4584i4.pdf for an Article in The Age 4/3/2019, downloaded 16/5/2020. Gives the design details, designer and background. Title "No more sad streamers: the redesign of Melbourne's garish train seats".On rear in felt pen "Camira Orange Fine"trams, tramways, ptv, public transport, equipment, seats, fabric -
Bendigo Historical Society Inc.
Postcard - PETHARD COLLECTION: MADAME CLARA BUTT
Handcoloured postcard : image shows woman dressed in maroon cloak, white fur colour, elaborate blue dress. Card is handcoloured and glitter affixed to highlight design of dress and cloak. Woman is wearing long gloves. Written on bottom: Philco Series 3128 D Madame Clara Butt. On rear: The Philco Publishing co., Mulborn Place, London. For inland postage only this space may now be used for communication. The address only to be written here.Philco Publishing co.person, individual, clara butt, pethard, lydia chancellor, philco publishing co., clara butt -
Bendigo Historical Society Inc.
Medal - BENDIGO EASTER FAIR MEDAL 1902, 1902
Bendigo Easter Fair medal 1902, 2 heart shaped medals, 1 gold in colour with ribbon of red and navy, medal with Scotch thistles in centre surrounded by wording Bendigo Easter Fair 1902, attached to a metal pinned clasp with words In Charitys Cause, marked on reverse Stokes & Sons. 1 silver (dirty) minus ribbon same design, same wording plus engraved on back B Clifford & makers mark Stokes St.Sil.Stokes & Sonsevent, easter fair, bendigo easter fair -
National Wool Museum
Machine - Knitting Machine, Coppo, 1960s
The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Campfire Gathering, Meeting Place Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak -
Bendigo Military Museum
Photograph - Army Survey Regiment Contingent - Victory in the Pacific Parade, Castlemaine, 1995
This set of 13 colour photographs of a contingent of 38 personnel from the Army Survey Regiment, Bendigo sent to Castlemaine on the 13th of August 1995 to support a parade held commemorating the 50th anniversary of the Allied Victory in the Pacific. Army Survey Regiment Administrative Instruction 33/95 is stored with the photos, providing a nominal roll of the contingent involved in the parade. Refer to item 6299.11P for information and photos of an Army Survey Regiment Guard of Honour contingent sent to Canberra that year to support the Australia Remembers 1945-1995 event, one of many activities designed to commemorate and celebrate the 50th anniversary of the end of the Second World War on 15 August 1945.This set of 13 colour photographs of a contingent of 38 personnel from the Army Survey Regiment, Bendigo sent to Castlemaine on the 13th of August 1995 to support a parade commemorating the 50th anniversary of the Allied Victory in the Pacific. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1995. No personnel identified. .2) - Photo, colour, 1995. Rear row L to R: SGT Ian Read, SPR Andrew Arman, unidentified (x2), LCPL Mark Fedden, SPR Glen Norrell, unidentified (x2), LCPL Grant Lloyd, SGT Stuart Ridge, SGT Dale Hudson. Centre row L to R: SSGT Peter Coles, SPR Derek Percival, SPR Mick Muzeen, unidentified, SGT Steve Gloster, CPL Darren Maher, SPR Katie Butterworth, unidentified (x2), CPL Trevor King, SGT Brian Paul, Parade Commander LT David Sapparth. Front row L to R: SPR Allison Ottaway, unidentified, SPR Spencer Rigby, unidentified (x2), CPL Dave Scott, unidentified (x2), CPL John ‘Doc’ Commons, unidentified, SGT Jim Ash. .3) - Photo, colour, 1995. Background L to R: unidentified (x2), SPR Allison Ottaway, unidentified. Foreground L to R: unidentified (x2), CPL Paul Einam, CPL John ‘Doc’ Commons, SGT Jim Ash, unidentified, Parade Commander LT David Sapparth (facing away), unidentified (x2), SGT Stuart Ridge, unidentified, SSGT Peter Coles. .4) - Photo, colour, 1995. Unidentified parade participants. .5) - Photo, colour, 1995. Right file L to R: SGT Jim Ash (partially obscured), remainder unidentified. Centre file L to R: LT David Sapparth, unidentified, SGT Brian Paul, remainder unidentified. Left file L to R: SGT Dale Hudson, SGT Stuart Ridge, LCPL Grant Lloyd, SPR Glen Norrell, LCPL Mark Fedden, CPL Geoff Webb, unidentified, SPR Andrew Arman. At rear L to R: SPR Derek Percival, SPR Mick Muzeen. .6) - Photo, colour, 1995. Background: SPR Allison Ottaway, Right file L to R: SGT Brian Johnson, SPR Spencer Rigby, unidentified (x2), CPL Dave Scott, unidentified, CPL Paul Einam, CPL John ‘Doc’ Commons, SGT Jim Ash. Centre file L to R: SGT Brian Paul, unidentified, Parade Commander LT David Sapparth. Left file L to R: SGT Stuart Ridge, SGT Dale Hudson (partially obscured). .7) - Photo, colour, 1995. L to R: SGT Ian Read, CPL Terry Purdey, SPR Derek Percival, SPR Andrew Arman, unidentified (x2), SSGT Peter Coles, SPR Allison Ottaway, SGT Brian Johnson, remainder unidentified. Parade Commander LT David Sapparth at front. 8.) - Photo, colour, 1995. Unidentified Corporal at Flag mast. 9.) - Photo, colour, 1995. Cenotaph ceremony L to R: SPR Allison Ottaway, SPR Andrew Arman, unidentified, SGT Ian Read. 10.) - Photo, colour, 1995. Cenotaph ceremony L to R: SPR Derek Percival, COL COMDT COL Don Swiney MBE, SGT Ian Read, SPR Andrew Arman (facing away), SPR Allison Ottaway. .11) - Photo, colour, 1995. Unidentified parade participants. .12) - Photo, colour, 1995. Unveiling commemorative plaque. L to R: COL COMDT COL Don Swiney MBE, Mr Bruce Reid MHR Bendigo. .13) - Photo, colour, 1995. Army Svy Regt personnel enjoying the BBQ lunch. L to R: SPR Dave Rossiter, SPR Allison Ottaway, SPR Dik Brierley, unidentified, SPR Katie Butterworth, CPL Trevor King, SGT Stuart Ridge, LCPL Grant Lloyd, CPL John ‘Doc’ Commons, CPL Darren ‘Barney’ Maher, CPL Paul Einam, unidentified, CPL Nick Vanderzwan.Identification label ‘VP Day Castlemaine (no negs)’. No personnel are identified; however they are named in the Administrative Instruction stored with the photos.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
Flagstaff Hill Maritime Museum and Village
Equipment - Belaying Pins, Late 19th Century
The pins in this collection vary in the timber used and the design. They were found in a warehouse beside Crown Casino in Melbourne, located along the Yarra River, close to the sailing ship "Polly Woodside" and not far from the docks of Port Melbourne. Some of the pins have the mark of a 'Broad Arrow' with 'D ↑ D, which signifies that they were the property of the Australian Government's Department of Defence. Belaying pins are essential equipment on a traditional sailing ship of the 19th and early 20th centuries. They are usually made of wood but some are metal. A belaying pin is used to secure the running ropes of the rigging to the ship's rails using holes drilled onto the rails for that purpose. The belaying pins are inserted into holes in the ship’s rail, drilled for that purpose. When the sail has been raised, the ropes are wrapped around the upper and lower sections of the pins in a figure-eight pattern. The shapes of these belaying pins taper from the rounded end of the handle inwards towards the bottom, which allows them to have a firm fit into the holes in the rails. The rigging rope is wound around the pins in such a way that a tug on the pin's handle pulls it out of the hole and quickly frees the rope and the sail.These belaying pins are significant for their association with sailing vessels, particularly vessels of the late 19th and early 20th centuries. They are also significant for their association with the Port of Melbourne where sailing ships docked to and from the Port of Melbourne. Some of the pins have additional significance for being connected with the Australian Government's Department of Defence.Belaying pin, wooden, simple design, wooden shaft with a wider rounded end on top third, tapering to the centre third, which is wider than a lower third. The bottom has a blunt base. Some of the pins have the three sections divided by a line around their circumferences. This collection of fifty-seven pins of varying shapes, colours and timber. Some of the pins are stained with colour, and some have been left natural Stored in a wooden crate. Some have inscriptions.Marks: (Government Defence Department Broad Arrow) "D ↑ D"sailiing equipment, nautical equipment, rigging, yards, flagstaff hill, maritime museum, maritime village, belaying pin, broad arrow, australian government, australian department of defence, sailing ship, sail -
Yarrawonga and Mulwala Pioneer Museum
Piano Box Buggy, Made by J. McCabe & Sons in 1926
A simply design four-wheeled vehicle with one seat on a high side box tray. The transverse elliptical springs, front and rear, are set above the floor level which allows a lower centre of gravity, and easy entry. Colour Black body and reddish-brown undercarriage with black lining on the wheels. History Dating from the 1850s the piano box buggy became the most popular style of buggy in the USA and a common sight in Australia. The examples in this collection probably date from the early 1900s -
Southern Sherbrooke Historical Society Inc.
Work on paper - Wine bottle label
Colour photograph of a fundraising wine bottle label promoting the centenary of the Menzies Creek State School. Label is off-white with red printing. 'GORDO RIESLING/An unusual blend/ of Gordo and Riesling grapes specially/ prepared, giving a Moselle style taste/with a pleasant Dry Riesling finish, and ready/to be enjoyed now./The grapes were grown and vintaged at/ Angove's Renmark vineyards.' The label features the (then) school logo, designed to mark the school's centenary, with artwork by Tanya Mayer and Konrad Matta. -
Flagstaff Hill Maritime Museum and Village
Accessory - Gold Cross, Bef. 01-06-1878
The gold cross was discovered by Victorian scuba diver Julie Wilkins, who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village. Her photograph was taken as she handed over her precious find, she told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The small decorative cross dates back to on or before 1878, when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ or a ‘blessing’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The cross is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its scratched, pitted and worn condition, and the damage near the loop, is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. Three edges of the cross have slightly raised narrow ridges of gold which could have been cause by the gold being cast liquid gold into a mould.This gold cross pendant is significant as a symbol of Christianity, a sign of hope and safety, and a sample of the religious following on board the Loch Ard, although not everyone wears a cross for this reason. This cross is a sample of jewellery owned by people migrating to Australia in the late 19th century. The cross and the guinea recovered together from the wreck of the Loch Ard are made of gold and help interpret the financial status of some of those on board.Gold cross; yellow gold with decorative hand engraved foliage design on the front, fitted loop and ring on top. The simple Latin or Roman variation of the cross, with an elongated vertical arm, has no figure on it and the reverse has no decoration. The right, left and base edges have sections of narrow, long slightly raised ridges. The top edge has remnants of red-black colour. Victorian era cross, ca. 1878. The cross was recovered from the wreck of the ship Loch Ard.Engraved foliage design. Slightly raised long ridges on sides and base edges. flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, gold cross, religious cross, religious trinket, religious jewellery, engraved cross, cross pendant, cross with ring, victorian era, 1878, antique cross, crucifix, religious symbol, christian symbol, christian jewellery, contamination phenomena, gold corrosion, good luck, lucky charm, blessing, pendant, loch ard, wreck of the loch ard, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, latin cross, roman cross, pectoral cross, julie wilkins -
Bendigo Historical Society Inc.
Photograph - BENDIGO HISTORICAL SOCIETY COLLECTION: REDESDALE BRIDGE
Colour photograph of the Redesdale bridge over the Campaspe River at Redesdale. The Redesdale Bridge is one of the oldest iron lattice-truss bridges in Victoria, Australia. The Redesdale Bridge is a wrought iron and timber structure with bluestone abutments, located over the Campaspe River near the town of Redesdale. Image taken from Redesdale side of bridge showing two lane design. Plaque on bridge in centre of divided road reads ' Shire of Metcalfe'. Photo taken during a BHS tour, possibly 1990's.bridge