Round bottle of Indian Ink. Screw top lid made of bakelite type material.Reeves Indian Ink|Reeves & Sons Ltd Enfielddomestic items, writing equipment

Five Indian ink sketches, illustrations and poems on fine cotton. 1. Hilaire Belloc verse with 2 illustrations. 2. 'My Darling Dolly' poem with illustrations. 3. Girl on beach with crab and insects on see-saw. 4. Goose and witch and Birds and Fairies. 5. Fairies and Girl and Stork.By Courtesy of Miss M Bostock (Foundation member of the EGV. )cotton lawn, drawings

Found in Drawer 1Collection of Indian ink sketches on Fine white linen. 1. 2 drawings with verse by Hilaire Belloc - (linen 50 cm x 29 cm) 1. There Was A Man - 4 verse poem with 2 illustrations of young couple and rural scenery. 2.2 drawings - (linen 45 cm x 28 cm) 1. My Darling Dolly poem - 4 verses with illustrations and 2 shields 'Aquarius' & 'Taurus'. 3.2 drawings - (linen 34 cm x 12 cm) -1. Girl on beach with crab "Sir Crab where are you going?" 2. Grasshopper & butterfly on mushroom "See-saw". 4.2 drawings - (linen 34.5 cm x 14. 5 cm) 1. Flying goose pulling witch on broomstick. 2. Framed picture of owl and bird sheltering fairies 'Cold night'. 5. 2 drawings - (linen 32 cm x 14 cm) - 1. 3 fairies - 2 as students at a desk. 2.Girl & stork looking at their feet ' "They are entirely different from mine anyhow" said the stork.' Reverse of #1 - 'By courtesy of Miss M Bostock'linen, pictures, drawings, poetry

Five Invoices directed to the Ballarat School of Mines in 1900ballarat school of mines, ballarat courier, invoices, robert clark, j. ewins, frederick martell, indian ink, cumming, smith and co., letterhead, henry markwald, borax, c.c. shoppee's crytal palace, daniel walker, john slater and co.

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

Two sketches back to back one sheet in a cardboard frame a. Eaglehawk Town Hall, an Indian ink sketch. b, Stone Cottage, James St, Harvey Town. Indian ink sketch of a cottage with a stone fence in front and steps leading up to the front door.drawing, ink, building, eaglehawk town hall, stone cottage, james street, harvey town

Vegetable ivory became a popular substance to use for needlework tools c 1860, it was very suitable for lathe turning and cheaper than ivory. Combining the cotton reel with a pincushion created a convenient tool to display and use. Presence of the wooden cotton reel dated 1863 tells of an early cotton reel, and that the piece was used.Vegetable ivory was a substitute for elephant ivory, this standing compendium was an useful item for display. Unusual to have a wooden cotton reel with a name and date. Standing thistle shaped carved vegetable ivory combined cotton reel holder and pincushion with bone spindle and worn red velvet pincushion. Cotton reel on it is a replacement and has cotton on it. Base of cotton reel in indian ink: "Gina Pipe, May 15th, 1863"reel, vegetable ivory

Original drawing was Indian ink on paper by Alfred George Reynolds (1906-1996) who was Vicar of St Lukes Vermont from 1947-1952. Alfred George Reynolds was a noted Australian artist in the mediums of oil painting, etching and pen and ink drawing.Black and white cutting from a newspaper of St. Lukes Anglican Church, VermontA G Reynoldsst. lukes anglican church, vermont

The Advocate (Melbourne, Vic. : 1868 - 1954) Thursday 12 January 1939 p 31 Advertising ANGUS & CO PTY LTD MANUFACTURERS OF CLAG THE BEST HOME AND OFFICE PASTE AND WRITING INKS SHOWCARD COLOURS INDIAN INKS RUBBER STAMP PAD INKS MUCILAGE, GUMS, ETC. ANGUS & CO. PTY. LTD. MELBOURNE AND SYDNEY. Round thick clear glass ink bottle with text and monogram embossed on base.'154', 'ANGUS & CO PTY LTD', '3M'. Monogram 'A' with flat top enclosing 'G' over 'M'.ink bottle

Black and white photograph of Women's Sewing Group manufacturing clothing for Boer War Military (Australian). Packages, sewing machines, chairs in foreground, ladies in middle ground, materials against panelled walls in background. Mounted on fawn board. Inscriptions: GP12 at top corners in Indian ink. In blue/black ink, on top front of board. 'Bendigo Women's Sewing Circle During the Boer War'. On back - stamped in green ink, in circle 'Royal Historical Society of Victoria, Bendigo Branch'. In Indian ink '1137'. In grey lead 'Boer War', 'Bendigo Women Making clothing for Boer Australian contingent'.person, group, women

Sepia photographs showing thirteen nurses, matron? (in centre), six males on mats on lawn with building in background. Mounted on fawn board. Inscriptions: on front - in top corners in Indian ink 'GPI'. On back - stamped in circle in ink 'Royal Historical society of Victoria, Bendigo Branch'.cottage, miners

Framed set of photographs of Melbourne W1 421decorated as an "illuminated" tramcar for the visit of the Duke and Duchess of York to Victoria April 21 to May 12, 1927 and the opening of Canberra on May 9, 1927. Tram identified in the 4th edition of Destination City. Note Tasmania is missing from the map on the side of the tram. Two photographs of the tram, a three quarter front on view and a side on view have been framed within a black wooden frame, protected by a glass sheet, with an off white cardboard sheet cut out for the photographs to frame them, cardboard backing sheets with an ink inscription under the two photographs. The rear backing sheet has been tacked onto the wooden frame. Images show the overall object, the two photographs, the text and the rear of the object. Images i2 and i3 updated for scan of the actual negs. Page 43 of Destination City 4th EditionIn Indian ink "Melbourne and Metropolitan Tramway Board's / illuminated Tram Car, during the visit / of the Duke and Duchess of York to Victoria, / April 21st to May 12th 1927 / and the opening of Canberra on May 9th 1927".trams, tramways, illuminated trams, decorated trams, royal visit, melbourne, duke of york, preston workshops, w1 class

This image was one of a series taken by Harold Millane in the late 1940's. They were printed onto post cards. Mary Millane, Harold's wife, printed captions on each negative with Indian ink. The series includes a variety of views of Mitcham, Vermont, Nunawading, Park Orchards and Doncaster East. The post cards were sold as souvenirs in the Millane shop on the N-E corner of Station Street and Whitehorse Road, Mitcham (originally the Mitcham Post Office).Clear photograph showing details of shops, vehicles, streetscape, lighting.Celluloid half plate B + W negative.Whitehorse Road Mitcham, Vic. hardy scott, h. s .beckwith, richards drapers, d. g. williamson, r. gracie, s. kelly, cenotaph, mitcham memorial hall

black and white photo of underground mining, showing 8 miners in a stope with their Bendigo bucket carbide lights. A large quartz spur formation is visible in the foreground. A wooden ladder gives a good scale in relation to the stope size. Photograph taken in the Central Nell Gwynne at the 265 m. level C 1939. On back MNc4 ( in indian ink ) ? Hercules and Energetic ( in ball point pen ) RHSV of Vic. Stamp.organization, business, hercules and energetic mine

Sepia photograph of Christ Church, Swan Hill showing construction materials. Group of eight women, two men, two men on scaffold. Larger building in background. On back: stamped in circle 'Royal Hiostorical Society of Victoria, Bendigo Branch', Indian ink: 'Church, Swan Hill, May 3rd, 1892. IG Alexandra Harris Incumbent'. Black ink' 'MP 268'. Previous Acc. No. 'MP 268'buildings, church, christ church, swan hill

Copy of black and white photograph showing view of weatherboard double-fronted house, decorative ? Boards, verandah lacework, decorative brick chimneys ??. Roof, double-hung windows. Brick church adjacent, vented slate roof, buttressed walls, Gothic windows. Picket fence along footpath. SEC? pole. Trees in background. Inscriptions: on front in Indian ink written across bottom of image 'St Luke's Church and vicarage, White Hills Bendigo'.buildings, church, st lukes, white hills

Studio portrait of unidentified male, taken circa 1882. From the Partington collection. [Note: In the Hobart Mercury 11 May 1882, page 3… Portraits: Secure the shadow ere the substance pass away. Persons desiring large life-like portraits; taken from life; or copied from any portrait; and finished in oil or water colours; Indian ink; or any other style known in the art; should go to C. W. and Co.; who are the only artist photographers (portrait painters) in Tasmania. The most perfect and highly finished card portraits. Only 7s. 6d. per dozen. Address: C. WHERRETT and CO. Melbourne Portrait Rooms. Elizabeth-street, Hobart.] Sepia studio portrait.In black pen on reverse "Mrs Partington Kindest regards WRC"partington family

The remains of the 180 mine battery as painted by Alfred Perry in 1959. This is a watercolour and indian ink sketch on card. Yellow card attached with painting states: ' George Lansell Exhibit No 4. The remains of the 180 mine battery as painted by Alfred Perry in 1959. It was from the 180 that George Lansell laid the foundations of his fortune and indeed the fortunes of the district. With his capital behind the field mining flourished for nearly one hundred years and ensured employment for the many miners in the district.'Alfred Perryartwork, print, mining heritage, alfred perry, mining battery, 180 mine, victoria hill

Nettleton creates an image of peace and tranquility after the violence felt from the 2009 Black Saturday bush fires / At the Arthurs Creek cemetery Nettleton found the grave of Reg Evans and Angela Brunton, friends who had perished in the fires / Nettleton sat on the edge of their joint grave and photographed their view / It was only after examining the photos more closely that she realized Mount Sugarloaf had burnt almost to the valley / Sugarloaf is always in an indigo haze. This work is by a local contemporary artist and encompasses themes dealing with the 2009 Black Saturday bushfires. Mixed media (acrylic paint, acrylic ink and indian ink) on board / Landscape painting of Mount Sugarloaf and green pastures after the 2009 Black Saturday bushfires / Mount Sugarloaf is depicted in an indigo haze in the background / A line of trees bathed in light border the mountain's edge / Lines of trees parallel to each other jut out diagonally in the foreground / Framing this view of the landscape is a pattern (topographical maps of the Nillumbik area), which suggest the vast extent of the devastated area of landscape. In black marker 'LIZ NETTLETON' + artist signature '2011' on back - middle right side nettleton, respite and repose, landscape, painting, mixed media, black saturday, mount sugarloaf

Contour map (copy) of the Government Camp Sandhurst, 1854. Map is mounted on coreflute and laminated. Written in bottom righthand corner 'Contour Plan of the Government Camp, Sandhurst. Dec 1854. Signed by Richard Larritt, Assistant Surveyor, 11th December 1854.' Shown on map: Pall Mall, Bendigo Creek, Commissioner's Gully, View Place (now View Street), Post Office, Bank of Victoria, District Surgeon, Sandhurst Fire Brigade, Police Hospital, Flagstaff, Gold Office, License Shed, Military Barracks, Stables, Commissioner's Buildings, Police Office. Old Cemetery, Garden. Reference on righthand side: 'Stone or brick buildings are tinted in crimson. Wooden buildings tinted in Indian Ink. Tents and other temporary structures tinted in Burnt Sienna.' Scale of Chains, on bottom of map. Sticker on bottom left hand corner and back of map ' Presented by Survey and Mapping, Victoria, 7th Octber, 1994'.map, bendigo, government camp, pall mall, bendigo creek, commissioner's gully, view place (now view street), post office, bank of victoria, district surgeon, sandhurst fire brigade, police hospital, flagstaff, gold office, license shed, military barracks, stables, commissioner's buildings, police office. old cemetery, garden. , survey and mapping victoria. sandhurst, bendigo.

black and white photograph of the Great Extended Hustlers Quartz Mining claim. Photograph shows five weatherboard clad buildings with corrugated iron roofing. Poppet legs and cable support trestles. Bush logs in foregound at right. Office at left, battery house centre background. Main shaft right. Copy of original photo. On face of photo in indian ink: area of 24 acres, has 6 shafts, equals 4000 feet of sinking. No less than 13 levels and 16 x cuts making a total of 12000 feet. Amount spent in labour 228,000 ( pounds stg. ) Quartz raised 144,5000 tons and yields to date 188,000 ozs of gold. Dividends 585,000 ( pounts st.) nearly 20/-/ a share. Employment to nearly 200 men. It is stated this rich mine changed hands the early days for only 30/-/-. On back in black ink ' Gr. Extended Hustlers. Bottom right corner : A. Richardson/29 Harrison Street/Bendigo.N.J. Caireorganization, business, great extended hustlers mine

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.

This booklet gives details of the matches played by the Warrnambool High School Cricket Club, A Grade Team, for the 1932-33 season. The home ground appeared to be the one at the Showgrounds but they also played at the Woollen Mill oval. Teams played against include the Catholic Young Men's Society, Bushfield Cricket Club, Australian Natives Association, the Footballers, the Indians, the Woollen Mill Cricket Club, Camperdown and Nirranda-Naringal.This item is of considerable interest as it is a memento of the Warrnambool High School Cricket Team in the 1930s with the list of players names providing a tool for further research.A hard cover book, coloured blue, with a with white printing on the front and pages with green columns, green printing and handwritten entries in black ink. The cover is partly detached from the pages.Warrnambool High School Cricket Club A Team Season 1932-33 J. Whitehead Hon Sec F.G.N. Ewence - Scorerswarrnambool cricket, cricket scoring book, warrnambool high school cricket club, 1932

This book was given as a Sunday School prize to James Cassady. The donor was William Wines. The Wines families were pioneers in the Woodford district. James Cassady was the son of William and Elizabeth Cassady and the family lived at Boughton on the Merri River (near Cassady’s Bridge, Caramut Road today). This property was established about 1845. Charley and Joe, whose names have also been written in the book, were James’ brothers. This book is of interest because it belonged to James Cassady, the son of pioneer settlers in Cassadys’ Bridge/Woodford area. This is a hard cover book of 220 pages with 32 extra pages at the back of the book giving information on other books produced by the same publisher. The cover is grey-green with gold lettering, green and black floral decorations and gold images of two men on horseback and a South American Indian chief. The spine is torn away at the top and the cover and pages are stained and crumpled. There are many black and white illustrations throughout the text, with the frontispiece protected by a piece of tissue. The inscriptions are handwritten in black ink and pencil.‘Woodford Sunday School presented to James Cassidy (sic) by his well-wisher William Wines’ (this is re-written underneath in pencil with the correct spelling of ‘Cassady’) ‘Chaley cassady, boughton, merri river (sic) “Joe’ james cassady,, boughton, william wines, woodford sunday school, history of warrnambool

This Indian club comes from an early 20th century Warrnambool Men’s Physical Culture group but it is not certain which one it was. Gymnastics and Physical Culture groups were very popular in Warrnambool at the end of the 19th century and the beginning of the 20th century. They were usually attached to sporting or church groups and had both male and female participants. One important Physical Culture group in Warrnambool was a Sandow group, dedicated to promoting the Sandow philosophies and system of physical exercise. Eugen Sandow was a German who gained fame as a strong man, touring the world demonstrating his feats of strength and promoting his philosophy of health and good living. He toured Australia in 1902 and the result was the formation of many Physical Culture groups promoting the Sandow system. The Warrnambool group was said to be the first Sandow club established in Australia. No information has been found on the name ‘Dicks’ on the base of the club. This Indian club is of interest as a memento of the times in Warrnambool when many gymnastics and physical culture groups were operating. It may be a memento from the Warrnambol Sandow Physical Culture Group. This is a bottle-shaped wooden club with a wooden knob at the top end and three ridges incised into the main section of the club. The wood has been varnished but the surface is now a little rubbed and worn. A name is written on the base in black ink‘……Dicks’ warrnambool physical culture groups, eugen sandow

The Imperial Japanese Government printed their own money for countries they invaded or were about to invade. Refer to Cat 95P. Refers to the RAAF Service of No.40595 C.S. Cornelius.This is a medium size note. It was probably painted on white paper with brown ink. It has the portrait of a Dutch East Indian dancer in traditional clothes. The rear side is printed in purple ink. It shows the Buddhas in front of two bell shaped buildings. The value is 10 (Sepoeloeh) Roepiah.ww2, japanese money, invasion

Item collected by Alva Marie Bennetts whilst deployed to BCOF, 1947-49. See Cat No. 9726P for details of service for Alva Bennetts, VFX128835.Black and white photograph of an Indian soldier in uniform on guard duty. Guard is standing in front of his sentry box. He is standing at ease with his rifle. A sign indicating camp speed limits has been erected on the right hand side of the sentry box.Handwritten in blue ink on front of photograph: “On guard at Eta Jima". Handwritten in black on back of photograph: “Indian Guard”alva bennetts, eta jima, japan, bcof

The "nib" pen was the preferred scribe method up until the "fountain" pen was produced (1940's), both could use specific inks that had longer life periods on paper surfaces. Ink wells such as those incorporated in this desk set allowed the user to select the colour and "type of ink" required. The nib pen was the only writing pen that could tolerate "Iron gall" ink. Legal documents were at the start of the mid 1980's required by law(in Australia) to be signed by "well" filled pens. The inks used were either "indian" or "iron/oak gall" because their infusion into paper could not be erased and they had a longer "paper" life and were harder to forge. Bottled ink was superior to that supplied in fountain pens or "biro pens" because the user's choice to a greater range of inks covered a variety of scenarios. Forging a nib signature is extremely hard compared to that of a "biro pen" because a nib settles in to the users particular style of pen movement and arm pressure.This desk writing set was typical of those used by administrators, businesses or quasi legal sectors within the Kiewa Valley, before the lifting of the ban on the use of biros "to sign" legal documents. Fountain pens were used extensively before cheaper biros (throw away) writing implements (1940's) came into the market place.This glass ink well desk set has two circular ink wells connected to their respective nib holders. The nib holders are smaller circular receptacles and feed off the larger ink reservoirs. Between the two larger ink wells is a shallow bottomed elongated "oval" sphere able to contain "slide on" clips, two pronged fasteners (require a hole to be punched in papers) or small "bulldog" clips. At the front edge is an elongated and grooved (two) place for writing nibs. The grooves keep each nib or fountain pen separated.The glass structure is made from clear glass and only the outside "boxed" walls of the desk set make contact with the desk surface. The ink wells can also securely accommodate small bottles of ink. This would have been the case for refillable fountain pens.stationery, fountain pens, nib pens, ink receptors, glass ink wells

This is a souvenir program made for the musical event, Hiawatha, presented by Orbost Rotary Club on November 28,29 1949. Miss Elsie Lambert was a teacher at Orbost State School for 25 year.This is representative of the entertainment popular in Orbost in the 1940's-1950's.Two small 12 pp cream coloured books with brown print and the head of an American Indian chief in head-dress on the cover. It is titled"Hiawatha" prod. and directed by F.C. Herbert. a musical event presented in Orbost 1949, performed and sponsored by the Orbost Rotary Club. This was a souvenir program.On the back cover 657.1 in ink - E. Lambert.souvenir-program hiawatha musical orbost-rotary