Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchenware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the 'Bull in a China Shop' and 'Creative Tableware' names. 'Sol' (c.1912-1963), 'Studio' (1953 on) and 'Royal Staffordshire' (post-1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Chamber pot ceramic white with handle at side and decoration around top. Unclearwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, champer pot, personal hygiene, personal item, ceramic pot, domestic object

The photograph taken in 1988 before it was demolished shows the Art Deco style building also known as the King George V memorial Building, commissioned by merchant and philanthropist, Alfred Michael Nicholas (1881-1937) and designed by prolific Melbourne-based architect Harry A. Norris (1888-1966) in 1937 best known for his commercial work in Melbourne city centre. Architect Harry A Norris, one of Melbourne's early designers in the Moderne style had a strong relationship with the wealthy Nicholas family who made their fortune on the production of Aspro, a replacement for the German Aspirin when it was made unavailable during WWI. After the Nicholas Building on Swanson Street (1926), the Nicholas Factory in South Melbourne, and the mansion 'Burnham Beeches' in the Dandenongs (1931), the former Missions to Seamen building in Port Melbourne (1937) was a gift from Alfred Nicholas to the Church of England. “The new Institute will be a modern two story building in brick, with a high clock-tower, a memorial chapel, a hall for talking pictures, lounges, and billiard-rooms. It will stand in about an acre of ground between the two piers at Port Melbourne. The building of the mission has been made possible by a bequest of about£15,000 by the late Mr. A. M. Nicholas.” – The Argus 19th May, 1937. The building had a cruciform floor plan which contains a chapel, a large hall, other recreation rooms, sleeping accommodation on the first floor and a sundeck and living quarters for the chaplain and the caretaker. After being left derelict for years, it was demolished in 1994 to Colour photograph of Port Melbourne Missions to Seamen demolished in 1995.harry a. norris, alfred m. nicholas, art deco, 1937, missions to seamen, brick, king george v memorial building, 1988, zeitgeist, arts centre

Cigarette or Rolling papers are small sheets, rolls, or leaves of pre-cut paper made from wood pulp, hemp, flax, or rice straw which are sold for rolling cigarettes either by hand or with a rolling machine. When rolling a cigarette, one fills the rolling paper with tobacco. PROV - The West Richmond heritage overlay - The smaller former Australian Automatic Cigarette Paper Company factory at no.103-05 Hoddle Street Richmond, also retains original Moderne detailing, which includes 'Boomerang' in Art Deco script set vertically within the piers at either end of the building. 'Boomerang' was the brand of the cigarette papers manufactured by the company until 1948. A packet of 'Boomerang' precut cigarette papers Top: 60 LEAVES / BOOMERANG/ RICE / STAINLESS CIGARETTE PAPER/ Back:: 1/3 / 60 LEAVES / BOOMERANG / RICE / AUTOMATIC GUMMED / MADE IN AUSTRALIA . Inside packet: AUSTRALIAN AUTOMATIC CIGARETTE / PAPER CO. PTY. LTD. / MELBOURNEmelbourne, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, cigarette papers, tobacco, boomerang papers, australian automatic cigarette paper co. pty.ltd.

Green cloth hardcovered book with black leather spine, featuring the art deco work of Bernaux, Beligant and Feseau, Binquet, Bouchard, Bouraine, Bourdelle, Chassaing, De Bardyere, Gallerey, Gauvenet, Guenot, Hairon, Jallot, Lalique, Le Bourgeois, Malcles, Joel and Jan Martel, Max Blondat, Follot, Sad, Sue et Mare and Vera and J. Martin. Monochrome prints numbered 1 to 32, showing examples of modern wood and stone carving, all by named people. Text in French.non-fictionsculpture, carving, art nouveau, art deco, seguin, joel et jan martel, repousse, plaster, modelling

Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenneth Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by **** as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.The Kew Historical Society has been the recipient of a number of important collections relating to the Kew Mental Hospital and the Children's Cottages, Kew, including their former incarnations. This is an important donation in this context as it includes five sketchbooks by a patient in an art therapy program at the Hospital. Art therapy programs were introduced by Dr Eric Cunningham Dax to Victorian asylums in the 1950s. The sketchbooks contain incomplete drawings and finished artworks. The donor believes that the patient who created the sketchbooks suffered from Schizophrenia. The sketchbooks are historically significant as representative examples of works created by patients in the program and for what they reveal about how mental illness may be manifested in a patient's artworks. The most significant repository of comparable works is held by the Dax Centre at Melbourne University.One of five sketchbooks with illustrations by ******, a patient of the Kew Mental Hospital in an art therapy program, during the 1950s or 1960s. No work is dated although a number of the drawings/paintings are signed with the artist's name. art therapy, kew mental hospital, herbert joseph chambers, dr eric cunningham dax

Max COWARD ( -1991) Born Ballarat Max Coward was training to be an art teacher at the Ballarat Technical Art School from 1937 to 1941. He enlisted in the A.I.F. and was a Naval Trainee at Flinders Naval Depot in 1941. During these years Max Coward was described as a cartoonist and illustrator, and was was attached to the Naval Intelligence Division in 1945, producing stories and drawings for the Navy newspaper Dit. His work was reproduced in the Christmas annual, HMAS Mk IV and the Army educational journal, Salt. He was a foundation staff member at the Burwood Teachers' College art department when it opened at Box Hill in 1954, transferring to the Burwood Campus in 1955. Upon his retirement he moved to Queensland to start a graphic arts consultancy. Coward was active as a printmaker during the 1970s. 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 limited edition linocut by Max Coward. 'Hen Party' uses simplified forms reminiscent of the shapes gracing 'moderne' interiors of the 1950s and 1960s. The simplification of form and decorative pattern achieved through repetition shows the influence of Paul Klee's work and imagery. lls 'Hen Party' lower centre edition '8/28' lrs 'Max Coward 64' art, artwork, max coward, printmaking, alumni, hens, linoprint, linocut