This orchid was named after Miss Ruth Clark , a field nauralist from Lakes Entrance, who discovered the orchard growing in East Gippsland Colour photo of a stem of 3 orchids plus a second closup photohorticulture, botany

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Two views of orchids. Large green leaf at base from which a long stem rises with leaves unfurling along its length. View on left depicts two red and white flowers unfurling; plant on right depicts three flowers. Mounted in double matt (grey on burgundy), framed under glass in wooden frame with gold detailing.Front: CEW/72 (lower left) (red pencil) Back: 77 (upper left) (pen) Lyperanthus nigricans 'Red Beak orchid' (sticky label and pen, top left)collin woolcock, botanical, woolcock collection, cema

The Common Bird Orchid (Chiloglottis Valida) is one of many orchids within Nillumbik Shire. Postcard sent by Karen and fellow U3A Walkers to Harry Gilham thanking him for conducting an insightful tour of the Eltham Cemeterypostcard, common bird orchid, arts environment heritage, nillumbik shire, u3a, activities, eltham cemetery, heritage excursion, harry gilham, eltham district historical society, chiloglottis valida

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

2017 CLUNES CERAMIC AWARDS FINALIST2017 CLUNES CERAMIC AWARD FINALIST - RUNNER UP CATHY FRANZI. VOLCANIC PLAINS- FLAX LILY WITH ORCHID. TALL VASE YELLOW INSIDE, WHITE OUTSIDE WITH FLAX LILY PATTERN RUNNING UP THE PIECE. YELLOW AND PURPLE FLOWERS. WIDER AND THE BOTTOM.2017 runner up, cathy franzi, clunes seramic awards, artwork

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.Wodonga, High Street West Businesses including Gas company, ESANDA, State Bank of Victoria, Toyworld, Medicare, Black Orchid Gift and Hostess Store, and the Royal Bank. The State Bank of Victoria was taken over by the Commonwealth Bank in 1990. The Medicare service was removed from Wodonga in 2015 and amalgamated with the Albury Service Centre. The Royal Bank (National Mutual Royal Bank) later merged with ANZ. wodonga businesses, high st wodonga, state bank, medicare wodonga, royal bank

2301.01 - Flyer Sunshine Orchid|2301.02 - Newspaper Article An orchid from the rare side of the tracks|2301.03 - Extract from Victoria Nature Volume 81 The Easten Australian Orchid Diuris punctata|2301.04 - Flyer Sunshines Own Orchid by John Willaton|2301.05 - Typed Notes The Sunshine Orchid - Sunshine's own floral emblem|2301.06 - Color photo Sunshine Orchid Diuris punctata|2301.07 - Handwritten Letter 23 August 1984 Keilor Plains Group letter about the protection of the the Sunshine Orchid|2301.08 - Typed Letter Brimbank Letter 24 September 1984 Response to Handwritten Letter|2301.09 - The Sunshine Orchid Diuris punctatasunshine orchid diuris club, diuris, punctata

Sold covered magazine with a colour picture of an orchid on front

This is a photocopy of a newspaper article entitled "By the skin of the teeth: a Grampians orchid rediscovery", written by "A. B. B.", published in the Melbourne newspaper "The Age" on 19 May 1930. It describes the rediscovery of the blue spiral sun-orchid in the Grampians by C.W. D'AltonA copy of a newspaper article entitled "By the skin of the teeth: a Grampians orchid rediscovery"."Flowers, cousin, C. W, D'Alton" written in blue pen at top of copy.media, newspaper articles

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants

Two adjoing hand-drawn maps on light cardboard backing.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Local artistEtched clear glass

The work consists of a sculpture and seat. The sculpture is a tree form and the seat is based on a leaf shape. History is evoked through the flora and fauna imagery, from Indigenous plants to those of the farms, back-yards and kitchen gardens of the area, and diversity is evoked primarily through figures holding hands. Both pieces are fabricated from powdercoated mild steel.

The first Wildflower Show was held in 1937. Grant Greenwood, the local school teacher, persuaded the Progress Association to hold a flower show and after its success it was decided to make it an annual event. The name for the show has varied over the years.The photo is of a "First Prize" certificate for the Best Collection of Orchids from the 1937 Grampian Mountain Wildflower and Nature Show.Grampian Mountain Wildflower and Nature Show. Amy Johnson, 1937, First Prize, Section Best Collection of Orchids, Schedule No 15, G. W. Greenwood, Hon. Sec.events, wildflower show

retired police Snr Sgt Adrian Lalor with his orchids Lakes Entrance Victoria. Also another similar colour photograph of retired Snr Sgt Adrian Lalor number 04195.1 siae 10 x 15 cmColour photograph of retired police Snr Sgt Adrian Lalor with his orchids Lakes Entrance Victoriapeople, law, social history, gardens

Orchids, birds on the Bogong High Plains and surrounds and the SECV construction on the Kiewa Hydro Electric Scheme were topics of interest for the workers living there. Taping them would have been an interesting hobby for Jack Farrell.Jack Farrell (1920s - 1990s) worked for the State Electricity Commission of Victoria on the KHES. He worked in the workshop and lived on the river side of Simmonds Creek Road. x10 tapes of orchids, birds and Lake Guy etc. and 1 Panasonic Battery Pack VW-VBC4E for movie camera.The battery has a sticker on it "$99.00"orchids, birds, kiewa hydro electric scheme, movies of native flora, movies of birds

The Orchid Tables were on display as part of the Ten Years of Dowel Jones exhibition at the National Wool Museum in 2024. The exhibition label reads: Sitting just outside this exhibition in the National Wool Museum is a 1910 Axminster Jacquard Carpet Loom. This loom was operating at Brintons factory in Geelong from 1960 to 1975, and then at the Melbourne College of Textiles, until it was donated to the museum. In the 1990's the museum commissioned an exclusive pattern called the Manor House Rug. Based on earlier designs from Brintons UK Persian Rug Archive Library, the museum continues to make this rug through the expertise of Loom Technician Michael Farquhar. The Manor House Rug features a central medallion with floral pattern. Working with illustrator Beci Orpin, and referencing Margaret MacDonald & Angair's book 'Orchids of the Anglesea District', we identified regional orchids. By a process of removal and addition, the original floral medallion was replaced with local species as decorative motif. Ten Year of Dowel Jones presents three altered Manor House Rugs, each with different orchids tufted in wool and placed in the centre of each rug. The rugs have been attached by cotton thread to three table frames at different heights to create the Orchid Tables.Three tables consisting of powder coated steel frames, with a woven carpet top. The table tops are made from wool with a jute backing, and feature a red, green, blue, black and cream floral design with an orchid in the centre. Each table is a different height.dowel jones, ten years of dowel jones, national wool museum, axminster loom, carpet, manor house rug, orchids, anglesea, design, art, furniture, beci orpin, brintons, geelong, melbourne college of textiles

Glass - Stawell Orchid Societystawell