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matching portrait photograph
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Clunes Museum
Photograph - PHOTOGRAPH ST PAULS CHURCH OF ENGLAND, J.R. TANNER, PORTRAIT & J.R. TANNER, PORTRAIT & LANDSCAPE, PHOTOGRAPHER.CLUNES. CLUNES.1800
THIS PICTURE WAS TAKEN SOON AFTER THE CHURCH WAS BUILD IN 1871, AND PRIOR TO EXTENSION AT REAR END IN 1888.PHOTOGRAPH OF ST PAUL'S CHURCH OF ENGLAND.ST.PAUL'S PRIOR TO 1888local history, photography, photographs, churches - st-pauls anglican -
Stawell Historical Society Inc
Photograph, Group Portrait of nine men
... B/W photograph : Interior Group Portrait of 9 men, five... grampians B/W photograph : Interior Group Portrait of 9 men, five ...B/W photograph : Interior Group Portrait of 9 men, five standing, 4 seated. All wearing suites, a table to the front left. -
Stawell Historical Society Inc
Photograph, Group Portrait of 5 men, a Girl and a dog
B/W photograph: 5 Men, 1 Girl and a dog. Three men the girl and the dog in the centre of photograph, One man far left the fifth man is leaning in a doorway to the right of the man on the left -
Stawell Historical Society Inc
Photograph, BIARRI group trip
7149: OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149A OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149B OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149C GROUP OF PEOPLE STANDING NEAR BBQ. 7149D. THREE PEOPLE INSIDE TWO STANDING WITH BACKS TO CAMERA, ONE MALE SITTING HOLING A BROWN BOOK. 7149E . 4 PEOPLE TWO STANDING, TWO SITTING. THREE WOMEN ONE MALE SITTING ON RIGHT. 7149F. SIMILAR TO 7149E, BUT PORTRAIT. 7149G SIX PEOPLE SITTING ON A BENCH OUTSIDE WITH FOUR CARS IN BACKGROUND. Eight Colour photographs.biarri -
Stawell Historical Society Inc
Photograph, Adjutants Reita & Tom Briggs. Stawell Salvation Army corps officers 1945
Woman on Left man on right in uniform has glasses. Studio Portrait. -
Stawell Historical Society Inc
Photograph, Group of Salvation Army Members, Portrait with Shield 1940
... in Studio Portrait. 3 Seated one holding Shield Young People war ...Stawell Y P Locals the year they win Progress shield, Back Row: Joyce Conner, Lily Vince, StuartHurnald, Dossie Vince, Ruth Clark,. Front Row: Enie Reeve, Jessie Clark, Jean Cornwell.Seven Ladies and one man in Studio Portrait. 3 Seated one holding Shield Young People war Progress ShieldEileen W.J. Chapman Phot Artist Stawell -
Stawell Historical Society Inc
Photograph, Soldiers of Stawell Corps Salvation Army
Back Row: Brd.Joe Clark, Sister Flora Gray, Jack Clark, Lizzie Weber Katies Dow, Mrs Bonney, Sis J Fraser, Sis Hannah Wells, Sis Mrs Hambly, Mary DowTwo Men & Eight Women in Salvation Army Uniform. Front Five Seated Studio Portrait Drapes behind.Stawell Photographic Co Close railwayway Station E. Hewitt Managerreligion -
Stawell Historical Society Inc
Photograph, Portrsait of Alf ( Prentice) 1930
Portrait in Brown Cardboard folding CaseWith Love to Mother & Father from your Son Alf April 1930 -
Stawell Historical Society Inc
Photograph, Portrait of Bert Prentice 1930'S
Portrait in brown cardboard folding caseJ Ward Symons Hopkins St Footscray -
Stawell Historical Society Inc
Photograph, Portrait of Bert Prentice 1930'SAlbert Oliver 10/09/08
Thumbnail Miniture in cardboard frame Yoeman & co 116 Burke street MelbAlbert Oliver died 1982 age 94 Father James Edward Mother Annie Maria Yeoman & Co Burke Street -
Duldig Studio museum + sculpture garden
Sculpture, Karl Duldig, Mask by Karl Duldig 1921, 1921
Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back -
Duldig Studio museum + sculpture garden
Drawing, Karl Duldig, The Buddhist Monk, Guangqia by Karl Duldig 1940, 1940
The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner. -
Nillumbik Shire Council
Photograph: Joshua HOLKO, Portrait of a Skipper
... Nillumbik Shire Council melbourne Portrait of a Skipper ... -
National Wool Museum
Photograph, Sir Denys Lowson, Bart., K.J.St., J., M.A., (Oxon.)
Portrait of Sir Denys Lowson, Chairman and Managing Director of the Australian Estates Company Ltd. Sir Denys wears Mayoral robes, as portrait was taken during his term of offices as Lord Mayor of London, 1951.Portrait of Sir Denys Lowson, Chairman and Managing Director of the Australian Estates Company Ltd.australian estates company ltd, burt, mrs dorothy -
National Wool Museum
Photograph
Photograph of Lewis Hirst and Mr Gliddon, holding a framed map of Yorkshire. They are standing in front of a photographic portrait of Godfrey Hirst c1950.Photograph of Lewis Hirst and Mr Gliddon, holding a framed map of Yorkshire. They are standing in front of a photographic portrait of Godfrey Hirst c1950.Godfrey Hirst/ Lewis Hirst/ Mr Gliddon- Foremanweaving mills, godfrey hirst and co. pty ltd excelsior woollen and worsted mills, hirst, mr godfrey hirst, mr lewis -
National Wool Museum
Photograph
Group portrait of E H Lascelles, W Helpman, A C Macdonald, Tiger, T W Notte [?] , David Strachan, c1900E H Lascelles W Helpman A C Macdonald Tiger T W Notte [?] David Strachanwool brokering, dennys, lascelles limited, lascelles, mr edward harewood strachan, mr david - strachan and co. limited helpman, mr w macdonald, mr a c - dennys -
Stawell Historical Society Inc
Photograph, Family of Mr James Martin & Mrs Emma Martin nee Bennett
Photograph of the sons of Emma and James Martin. Fred Martin on Left Joseph Emanuel Martin on right. Black and white photo of two young children. The children are the sons of James & Emma Martin. On the left is Fred Martin on the right is Joseph Emanuel Martin. Both are dressed in formal outfits with a balcony behind them. Left Fred Martin Right Joseph Emanuel ch. of James & Emma (nee Bennett) stawell portrait -
Stawell Historical Society Inc
Photograph, Family of Mr James Martin & Mrs Emma Martin nee Bennett
Photo of sons of Emma and James Martin. Bill Martin on left and Alf on right. The children are formally dressed in long trousers, jackets with waste coats. Photograph of the other 2 sons of James & Emma Martin. On the left is Bill Martin on the right Alf Martin. Photo taken of the children leaning on a balcony possible in a photographic studio. Bill is leaning on the balcony and Alf has his right arm on Bills shoulder with his other hand in his pocket. Left Bill Martin Right Alf Martin ch. of James & Emma (nee Bennett) Martinstawell portrait -
Stawell Historical Society Inc
Photograph, Mr James Martin & Mrs Emma Martin nee Bennett Family Photo
James and Emma Martin (nee Bennett) and their five sons in front of their house. The house is a timber house on stumps with a galvanized tin roof with 2 windows. Emma Martin is holding the youngest child. James is standing beside her with the dog Infront of 3 children.Photo of Martin family outside a timber house. The family group is of two adults and five children and their dog. The house is a timber house on stumps with a galvanized tin roof with 2 windows.James & Emma (nee Bennett) Martin & their eldest five sons Stawell.stawell portrait -
Stawell Historical Society Inc
Photograph, The Martin, Cook and Hyatt Families Photo
... . stawell portrait Group photograph of Martin Cook and Hyatt Family ...Group photograph of Martin Cook and Hyatt Family. From left standing, Honora (McGuan) Martin, Gwenneth (Willmett) Cook, holding Jannette Cook, Clem Cook, Lucy Martin, Bob Hyatt, Ida (Martin) Hyatt, Emma May (Martin) Willmett. Seated Emily (nee Bate) Martin, Joseph Emanuel Martin. Small boy Robert Cook.Group photograph of Martin Cook and Hyatt Family. stawell portrait -
Stawell Historical Society Inc
Photograph, Baptist Church 1870
Two identical photos of Stawell Baptist Church 1870. Examples of Baume's Photographic work. One photo is more faded and has names Davies and Wm Anthony on the back. One of the two people standing outside the picket fence in front of the Church has a top hat on. Two identical photos of the front view of Baptist Church. There is a tall picket fence in front of the church with two men standing beside the fence. Photo taken by J Baume Portrait Rooms, Reefs Pleasant Creek c. 1871J. BAUME, Portrait Rooms, Reefs Pleasant Creek. No... Copies can be had by sending Names and Numbers. Davies & Wm Anthonystawell -
Stawell Historical Society Inc
Photograph, Mr Edmund Craigie Grant
Edmund Craigie Grant treasurer of St Matthews Presbyterian Church for 29 years. Died 1894 aged 63 years. A tablet is placed on the wall above the vestry door in his memory as one of the church's greatest benefactors. Oval black & white photograph of Mr. E.C. Grant plus an enlargement. This photo is the same as in 119.01Mr. E.C. Grantstawell portrait -
Stawell Historical Society Inc
Photograph, Mrs Elizabeth Ann Grant nee Parkinson
... . stawell portrait Photograph of Elizabeth Ann Grant nee Parkinson ...Elizabeth Ann Grant nee Parkinson died 1921 aged 77 years in Melbourne. Buried Stawell Cemetery with her husband Edmond Craigie Grant. Photo taken c 1885 - 1890. see more information 119.4.Photograph of Elizabeth Ann Grant nee Parkinson in a long outfit holding a decorative purse in her left hand.stawell portrait -
Stawell Historical Society Inc
Photograph, Mr Edmund Craigie Grant
Edmund Craigie Grant died 1894 63 years. Married 1862. The firm Grant, Lamont & Coy were the first to erect Quartz Crushing machinery at Concongella Creek and later in Stawell at what became North Park. They built a house called "ALVIE" 39 Darlington Road (still standing 2005).Black & white photograph of Edmond Craigie Grant sitting in a chair holding a manuscript or magazine. Creelwaut Co (?) Burlington Galleries, corner of King & George Sts. Sydney Arcadestawell portrait -
Stawell Historical Society Inc
Photograph, Mr Bow Hutchings -- Studio Portrait
... Portrait Photograph ...Portrait of Bow Hutchings posing beside chair and pot plant in front of weatherboard buildingB/W Photgraph of a Young man Standing outside wearing a suit and bowtie. Left arm resting on a chair.stawell, bowen hutchings -
Stawell Historical Society Inc
Photograph, Mrs Unknown Hutchings nee Unknown with children
Mrs. Bow Hutchings with childrenB/W Photo of a woman and Three children. woman is seated holding youngest child the other two standing.rs Bow Hutchings and Familystawell portrait -
Stawell Historical Society Inc
Photograph, Portrait of Mrs. Athol Gray of Swinton in Guide Uniform
Photograph in Stawell Girl Guides RecordsLarge Black & White Photos of Girl Guides Leader Athol Gray of Swinton in uniform, on card backing.guides -
Stawell Historical Society Inc
Photograph, Five young Girl Guides in Uniform in Guides Hall
1962-1963 Pam Evans, Jillian Henderson, Kerry Heale, Robin (O'Sullivan) Williams, Pam PalmerFive girl Guides in uniform in Hall with portrait on queen in background .Marshall Studios Stawellguides -
Stawell Historical Society Inc
Photograph, Portrait of two Girl Guides in uniform
Kay Brassington Close up of two Girl Guides in uniformA Marshall Studios Quality Prints guides -
Stawell Historical Society Inc
Photograph, Stawell's First Queens Guide Josephine Neumann
The highest honour awarded to any Girl Guide.B/W Studio portrait of Stawell Guide in UniformMiss Josephine Neumann, the first Stawell guide to become a Queen's Guide. 1954guides