Clothing. High round neckline at back, with peaked turn-back revers at front. Long sleeves, gathered into 3 cm cuff, which fastens with two metal press-studs. Bodice has front opening with three x 2 cm diameter white plastic buttons - peaked in the centre and with an impressed ridged texture. Bodice has two bands of shirring at the front shoulder line giving a ruched effect 6.75 cm wide. Six gored skirt. A band 6.5 cm wide at centre front reducing to 3 cm wide at side seams, forms a midriff panel, before becoming a belt at the back fastening with two metal press-studs. Back bodice is lightly gathered on either side at waistline. A home stitched dress.costume, female, woman's navy dress

Colour slide in a mount. Abstract designMade in Australia / 19 / MAY 68M5slide, robin boyd

Gouache and ink painting of an abstract design. Signed (L.r) 'Daryl Hill' and dated (L.r) 1963.daryl hill, painting, gouache, ink, abstract

Painting depicting a four piece mural of an abstract design. Inscribed in chalk on frame lower left 'Sketch for Ceramic Mural'. Inscribed on reverse of frame "Donald Laycock/ Design for a Mural 1954'.donald laycock, painting, ceramic mural

A tray is a shallow platform designed for the carrying of items. It can be fashioned from numerous materials, including silver, brass, tin, sheet iron, paperboard, wood, melamine, and moulded pulp. Trays range in cost from inexpensive moulded pulp trays which are disposable and inexpensive melamine trays used in cafeterias, to mid-priced wooden trays used in a home, to expensive silver trays used in luxury hotels. Some examples have raised galleries, handles, and short feet for support. Trays are flat, but with raised edges to stop things from sliding off them. They are made in a range of shapes but are commonly found in oval or rectangular forms, sometimes with cutout or attached handles with which to carry them. A more elaborate device is the tray table, which is designed to accommodate a tray, or to serve as a tray itself. There are two primary kinds of tray tables. https://en.wikipedia.org/wiki/TrayThe use of the tray, and the various types.Metal rectangular tray with rounded edges and abstract design. Rusty.The design now looks abstract, but there are signs that it may have been a floral design originally.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tray, kitchenware, food

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.Wheel thrown cup with handle, no saucer. Glazed and decorated with abstract design.art, artwork, cup, ceramic

Mixed media painting of an abstract design containing sand, oil and acrylic on particle board. Signed (L.r) 'Hodgknison 62'.frank hodgkinson, painting, abstract, mixed media

Donald Cameron (1927 - ) Born Melbourne The artist was on a one year's sabatical study leave at the Slade School of Art when this work was produced. 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.Framed silkscreen featuring an abstract design in black, green and black. Purchased by Ballarat Teachers' College, 1967Written lower left 'Exotic Garden' 1/12 Signed lower right 'Donald Cameron'art, artwork, donald cameron, printmaking, silkscreen, garden, available, screenprint

Book, black & grey soft paper cover, no dust cover, abstract design. 867 cut edge pages, black & white photos.books, military, history

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.Wheel thrown vase decorated with abstract design. If you are able to assist with information on this artist or artwork please use the comment link below. art, artwork, ceramic

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pinafore using a fabric coverd with an abstract design in bue, pink and yellow. A plain pink cotton fabric is used to decorate the pocket and the shoulders.Label: "Admiration / All Cotton"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

Illustrated in Embroidery from Sketch to Stitch, Pat Langford, Kangaroo Press P. 22, P. 82 Exhibited in Gallery at Guild February 1997.Olive green background fabric with dark olive green surround with machine and hand embroidery and beading in an abstract design suggestive and weaving grasses.embroidery, panels, 1980-2000, australia, creative embroidery, machine embroidery

Woven by Miss Rachael Grieves ( a well known Australian weaver.)Hand woven towel using natural coloured warp and pink weft in linen thread. The very simple abstract design woven near the hem is the only decoration.weaving, towels, 1900-20, australia

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A

An abstract design in felted silks and surface stitchery in perspex box. Picture has a beige mount, colours are blues, greens, terra cotta, pinks and mauves on a tan linen background.embroidery, creative embroidery, picture, 1980-2000, australia, creative

Purchased from 1971 Georges ExhibitionFramed panel. Red and pink striped woollen fabric as background. black, pink and beige machine embroidery in an abstract design including some small black beads. Some hand stitching. embroidery, england, creative embroidery, panel, 1960-1980

A small volume with a textured leather binding. It features a heavy card cover decorated with an abstract design of swirling brown and cream tones. The preface page is printed in multiple fonts in black ink.non-fictionSimpson's Cookery, Improved and Modernised is a 19th-century cookbook first published in London in 1834. Authored by the prominent cook of the time, John Simpson and updated by Henderson William Brand. Brand described his credentials as “of the kitchen of his late Majesty George the Fourth; Chief cook to T W. Coke. Esq.; Earl Manvers; his Grace the Duke of Norfolk; the Marquis of Ailsa and Lord Rolle”. It contains a range of recipes influenced by French and English cuisine including extensive instructions for the creation of all aspects of a complete menu for small as well as large parties. The menus covered a wide collection from those “now used at the best tables of London and Paris”.19th century recipes, recipes

Lois Densham was a Guild member, and one of the earliest machine embroiderers in the Guild.A piece of 1980's machine embroidery by Lois Densham, one of the earliest machine embroiderers in the Victorian Embroiderers Guild. Mainly abstract design closely stitched in bright colours on cotton gauze and mounted on a sheet of Perspex.embroidery, machine embroidery, perspex, australia

Probably Middle Eastern. The set consists of 2 cuffs, a front and a neckband, probably for a garment like a caftan, worked on pale grey fabric. The fabric is completely covered with metallic thread in an abstract design. The pieces are mounted on a board.embroidery, garments, middle east, metal thread

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

An unframed square acrylic-on-canvas painting in tones of green and white forming an abstract botanical pattern that radiates out from the centre. A renowned Anmatyerre artist from Utopia, Northern Territory, Petyarre’s work carries more than pigment—it holds a lineage of care. These sweeping, rhythmic brushstrokes represent Kurrajong leaves and other medicinal plants traditionally gathered and prepared by women healers. Passed from grandmother to granddaughter, these practices are a form of medicine beyond the clinical. They speak of country, ceremony, and community. They evoke breath, movement, and the cyclical nature of wellbeing. Hand painted on reverse. "JEANNIE PETYARRE 60X60" Handwritten on reverse. "(Sister of Gloria Petyarre) / "Medicine Leaves" 2005. / Presented to ANZCA by Prof. Michael Cousins 16/6/06"oil paint, acrylic paint, floral, floral design, botanical design, abstract art, indigenous artists, first nations artists, australian artists, australian art

Lusterware is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence. The technique on pottery was first developed in Mesopotamia (modern Iraq) in the early 9th century. It is produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", or a reduction kiln, excluding oxygen. The Lusterware effect is a final coating applied over the ceramic glaze, and fixed by a light second firing, applying small amounts of metallic compounds (generally of silver or copper) mixed with something to make it paintable (clay or ochre). This is then fired in a reducing atmosphere at a temperature high enough to "soften" the glaze from the first firing, and break down the metallic compounds, leaving a very thin ("perhaps 10 or 20 atoms thick") layer that is fused with the main glaze, but is mainly metal. Lusterware normally only uses one colour per piece, and the range is limited a "gold" derived from silver compounds was historically the most common. The process has always been expensive and rather unpredictable, always requiring two firings, and often the use of expensive materials such as silver and platinum. The very thin layer of luster is often delicate, and many types of Lusterware are easily damaged by scratching removing the metallic layer, or by contact with acids. Lusterware has therefore always been for display and occasional use, although by the 19th century it could be relatively cheap. Many pieces show the luster effect only working correctly on parts of the surface, or not at all. An item probably made in Staffordshire UK where this type of pottery was popular in the late 19th century by unknown pottery as the subject item has no marks. The teapot at this time cannot be associated with a historical event, person, or place, provenance regards manufacture is unknown, item assessed as a collection asset given it was produced before 1950.Teapot ceramic ornate copper lusterware abstract floral design handle has a protruding sculptured bird for thumb grip. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, tea set, kitchen ware, ceramic, lusterware, pottery, staffordshire uk, pottery finishes

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This coat dress is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Three quarter length hot pink Thai silk coat dress. The pattern of the fabric includes and abstract floral design encased in borders of flowersLabel: Dominexdominex, women's clothing, australian fashion - 1960s, coat dresses, mcintyre collection

The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat. MEASUREMENTS (CM): Shoulder 35 x Waist 74 x Front 146 x Back 146cmTranscript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

Brought from England by Mrs Oates. Jennifer Grey, well known English embroiderer.Blue Cotton fabric with black machine embroidery and net. Design depicts abstract trees.panel, machine embroidery, 1940-60, england

A Victor 'Algonquin' tennis racquet with flat top head, and plastic reinforcements and (remains of) whipping around shoulders. Plastic also around shaft. Octagonal handle with fine grooves, leather end wrap and end cloth. Decal on throat on reverse is manufacturers name. Model name and abstract design in decal on throat on obverse. Decal across throat on reverse states: STANDARD and includes a shield with knight's helmet. Retailer and manufacturer's names printed just above handle on obverse. Materials: Wood, Lacquer, Metal, Glue, Gut, Leather, String, Ink, Plastic, Clothtennis

Clothing. Very fine cream net, embroidered around outer edges, in a semi-abstract, floral design - 4 cm deep, and finished at the top with a small 3 mm diameter ''spot''. Overall the embroidered design is 5 cm deep. A second layer, ruched at the centre back neckline, folds down over the lower layer, giving a double embroidered effect. The top layer is embroidered in a '' flowing floral design '' design at the top edge. The shawl is shaped to a peak at the centre front.costume, female, cream shoulder shawl

This photograph is of Christina Giles, who died in Wangoom, Warrnambool, in 1899 at 7 years, 5 months and 4 days old and is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Jordan, Warrnambool refers to Joseph Jordan who operated a photographic studio in Warrnambool from the late 1880s. His work was prevelent in Victoria's Western District of Victoria.This photograph of Christina Giles is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation and the high mortality rates amongst children during the early years of colonial settlement. The photograph is also significant for is association with renowned Western District photographer, Joseph Jordan.Photograph of Christina Giles standing on chair in a decorative carved wood frame with floral design in abstract shape. Photo by Jordan of Warrnambool. Christina Giles died in Warrnambool in 1899 at 7 years, 5 months, 4 days of age. It is part of the Giles Family Collection. "Jordan Warrnambool" ( Photographers) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, christina giles, giles collection, giles family, giles history, henry and mary giles, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century personal effects, joseph jordan, jordan photography