Showing 303 items matching charcoal
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Stawell Historical Society Inc
Photograph, Charcoal Bags 1920's at Rail Yards
Railway pickup of Charcoal Fyans Creekcharcoal, charcoal burner, railway, transport -
Stawell Historical Society Inc
Photograph, Charcoal Bags 1920's
Two men in front of 1920's ute parked with Charcoal Bags for delivery to Rail. Man on right is Norman Manncharcoal, charcoal burner -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area
Charcoal Burning in Fyans Creek areastawell -
Federation University Art Collection
Painting - Artwork, 'Smeaton' by Wes Walters [and charcoal study], 1978
Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. Bruce Smeaton (born 5 March 1938) is an Australian composer who is well known for a variety of Australian film and television scores in all genres, including features, shorts, television, documentaries and advertisements.[1] His scores include Picnic at Hanging Rock, Seven Little Australians, Roxanne, Iceman, and Circle of Iron. He has won the Australian Film Institute 'Best Original Music Score' Award for The Cars That Ate Paris (1974), The Great McCarthy (1975), The Chant of Jimmie Blacksmith (1978) and Street Hero (1984, shared with Garth Porter and others). (Wikipedia).1) Portrait of Bruce Smeaton in oil on an unframed stretcher. .2) Charcoal sketch of the head of Bruce Smeatonwes walters, portrait, artist, artwork, bruce smeaton, musician, sketch, walters, alumni, available -
Stawell Historical Society Inc
Photograph, Mr Gerald Rowes Charcoal Burning Plant in Pomonal -- Coloured
Mr Gerald Rowes Charcoal Burning Plant Pomonalstawell -
Stawell Historical Society Inc
Photograph, Charcoal Burning in Fyans Creek area with part of the kiln formation
Charcoal Burning in Fyans Creek area. Shows part of kiln formation.stawell -
Stawell Historical Society Inc
Photograph, Charcoal Burners Hut on Holden's "Overdale" Station Property at Watta Wella
Charcoal Burners Hut on Holden's Overdale Station Property Watta Wella.stawell rural industry -
Whitehorse Historical Society Inc.
Letter - Correspondence, Unlicensed charcoal burners at Nunawading, 1864
Letter to Superintendent of Police from Mounted Constable Philip Purcell, November 1864 about unlicensed charcoal burners on crown land.Letter to Superintendent of Police from Mounted Constable Philip Purcell, November 1864 about unlicensed charcoal burners on crown land.Letter to Superintendent of Police from Mounted Constable Philip Purcell, November 1864 about unlicensed charcoal burners on crown land.charcoal burning, bourke district - nunawading, purcell, philip -
Nillumbik Shire Council
Drawing (charcoal) Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, Portrait Of Danny Moynihan, 1999
This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher -
Stawell Historical Society Inc
Archive - CD/DVD, Stawell District Schools, Charcoal Burning Fyans Creek, 2000
stawell -
Orbost & District Historical Society
iron
Charcoal irons followed flat irons when the base was made into a hinged box into which charcoal could be placed, This would keep the iron hotter for a longer time.This item is an example of a domestic appliance in common usage before the advent of electricity.A large charcoal iron with chimney. It has a carved wooden handle.charcoal-iron domestic -
Orbost & District Historical Society
iron, 1867
Charcoal irons followed the use of flat irons when the base was made into a box in which to put charcoal which would keep the iron hotter for a longer time.This item is an example of a domestic appliance in common usage before the advent of electricity.Large black ornate charcoal iron with a chimney on the top. It has an ornate metal hand protector. It has a hollow base into which charcoal is placed. The small hole at the back has a sliding cover that was used to regulate the temperature of the iron. ir0n-charcoal domestic -
Orbost & District Historical Society
charcoal iron, early 20th century
Following the use of flat irons the base of the iron was made into a container to put glowing coals inside it and keep it hot a bit longer. This was called a charcoal iron. It had a hinged lid and air holes to allow the charcoal to keep smouldering. They are sometimes called ironing boxes, or charcoal box irons, and may come with their own stand.This item is an example of a domestic appliance in common usage before the advent of electricity.This is a charcoal iron which was heated by burning charcoal inside it. It is made of iron and has wooden handles, one on top for lifting it and one on the catch at the front that keeps the iron closed. Both of these handles were needed to load the iron with charcoal easily. As wood does not conduct heat well, these handles made the task of filling the iron much easier. The holes around the base of the iron are for letting the fumes out.Top- "M.G."iron-charcoal domestic -
Federation University Art Collection
Charcoal, Impey, Margaret, "Bruce the Shearer" by Margaret Impey, 2007
This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, margaret impey, shearer, portrait, available -
Federation University Art Collection
Drawing, Julie Heron, 'Beauty, quietly determined, picked up the Secateurs' by Julie Heron, 1998
Dr Julie HERON Julie Heron lectured in Art Education at Federation University from 2006-2011. She was awarded a Doctor of Philosophy (PhD)Visual Arts in 2011. Her doctorate is a practice-based autoethnography entitled ‘Performing in the spaces between: an a/r/tographic inquiry into practice’. This research involved questioning and representing her practices, processes and positions as artist, researcher, teacher-educator and the outcomes of her research were made evident through an art installation and accompanying thesis. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed charcoal drawing.art, artwork, heron, julie heron, gippsland campus, drawing, charcoal, david pratt award -
The Dunmoochin Foundation
Charcoal Drawing, Figure Study (Female Reclining Torso), 1978
Red chalk and charcoal drawing of a female nude torso. Signed (L.l) 'D. Laycock 1970'donald laycock, drawing, charcoal, red chalk, female nude, torso -
Mont De Lancey
Iron
'Box' irons were heated by red hot charcoal. These first irons were first patented in 1852.Metal 'Box' iron with wooden handle. Specimen of 'Bless' charcoal iron decorated with head of Hephaestos, the Greek God of metal workers.irons, laundry irons -
National Wool Museum
Sketch
Artist's charcoal sketch with water colour panelfrom which carpet manufacturing pattern is graphed out, prior to preparation on Jacquard Card. Genoese (Axminster) 4/4225.Artist's charcoal sketch with water colour panelfrom which carpet manufacturing pattern is graphed out, prior to preparation on Jacquard Card. Genoese (Axminster) 4/4225. Artist's charcoal sketch with water colour panelfrom which carpet manufacturing pattern is graphed out, prior to preparation on Jacquard Card. Genoese (Axminster) 4/4225.4/418 Genoese MS. M6 RE MG. in Burgundy P2 S7 1st stockweaving, carpet -
Halls Gap & Grampians Historical Society
Photograph - B/W, C 1919-1920
Burning charcoal for the Ararat Gas Company. The location is unknown.The photo shows two men standing on a platform feeding wood into a large charcoal burner.To the right there is a wagon (from which they are getting the wood) with a horse hitched to it (only the rear part of the horse is visible). To the left are full sacks. There is bush in the background and a rutted clearing in the foreground.timber industries, charcoal burning -
Dutch Australian Heritage Centre Victoria
Imitation smoothing Iron (Strijkijzer)
In their original form these smoothing irons were filled with hot coal or charcoal and used to remove creases from garments.Brass smoothing iron most likely produced for the souvenir industry. The original would have held coal or charcoal. The lid can be lifted and there are openings to allow smoke to escape. The lid can be fastened to the main body with a hook. . -
Latrobe Regional Gallery
Drawing, BELLANY, John b. 1942, Port Seton d. 2013, Untitled, 1983
CharcoalSigned and dated 'Bellany '83' in lower right corner of drawing. -
Bass Coast Shire Council - Robert Smith Collection
Artwork, other - Untitled male nude 1960's, Noel Counihan
Australia 1913 - 1986CharcoalSigned l.r Inscribed 'Drawn at Pat Shannon's sixties' -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document - Kitchen equipment, charcoal sad iron, c1880
This type of Charcoal iron was used by early settler families in Moorabbin Shire. The body or ‘box’ of the iron was filled with red-hot coals from the Kitchen hearth. This made for hot as well as smoky ironing and the handle would have become very hot. This type of iron is still used in some countries where electric power is unavailable. This Charcoal flat iron was used by the Curtis family who were early settlers in Moorabbin Shire c1880. A charcoal sad iron with leather covered handle c 1880 The cast iron body or ‘box’ of this sad iron was filled with red-hot coals from the hearth and great care had to be taken to prevent scorching the material to be smoothed.iron charcoal, flat iron, early settlers, pioneers, moorabbin, brighton, market gardeners, craftwork, sewing, laundry equipment, kitchens -
Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Portrait of Rella by Slawa Horowitz-Duldig 1917, 1917
Slawa Horowitz-Duldig) was both an artist and a designer, and both aspects of her practice are represented in the collection. There is an archive of approximately 255 drawings by Slawa dating from 1917 until 1922. Slawa’s sketchbooks from this period provide an insight into her early training and demonstrate the artist’s early interest in portraiture. A number of the drawings have been framed, but the majority remains 'in situ'. Slawa was a student at the Viennese Kunstschule für Frauen und Mädchen (the Viennese Art School for Women and Girls) (KFM) from 1917 until 1921, and in 1922 she became a student of Anton Hanak. The KFM School had been established in 1897 as a private school, and it was highly regarded both for its teaching staff and academic curriculum. By 1918 it had introduced stringent admission policy similar to those of the Austrian Academy of Fine Arts, and obtained government funding for its academic program, and began to focus on students seeking to pursue careers as professional artists. In 1921 when Slawa applied to the Austrian Academy of Arts for a place in its program, her application was unsuccessful, as her work was considered advanced, and a place in the third or fourth year of the program was not available. In 1922 she became a private student of Anton Hanak. Many of the portrait images from this early period concentrate on capturing the physical appearance of the face of the model. A number of these studies, in which the subject is not identified, display an academic approach to the genre. Her technical skills in capturing precise facial features of the model, the expression of eyes and the texture of hair are evident. These drawings were perhaps completed in the studio of the KFM School. There are also portraits of friends and family members, including her sister Rella and others, perhaps parents and grandparents, who have yet to be identified conclusively. It is these images of family and friends that particularly demonstrate Slawa’s confidence with pen, charcoal and crayon on paper. Amongst the group are several portraits that indicate the artist’s interest in conveying the inner psyche of a subject, as well as capturing a likeness. Ann Carew 2016The drawings from this period give us an insight into the artist’s early training, and the teaching methods of Viennese Kunstschule für Frauen und Mädchen, one of the first professional art schools for women in Vienna. The drawings and sketchbooks have artistic, interpretative and research significance as records of the art education of women in Vienna in the early 20th century. Ann Carew 2016Charcoal over pencil sketch on paper of Slawa's sister Rella.Artist signature in the bottom left corner. -
Brimbank City Council Art Collection
Charcoal on paper, Gary James, Maribyrnong River, 1984
James worked as a tutor in art with Sunshine community arts program.Charcoal on Paper