Showing 59 items
matching paper moon
-
Swan Hill Regional Art Gallery
Print, SIBLEY, Andrew, It's only a paper moon, 2008
... It's only a paper moon ... the-murray Print It's only a paper moon SIBLEY, Andrew ... -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 3, No. 4, Aug-Sep 1998, 1998
... paper moon... Tim Nikolsky Margaret Leighton paper moon Alfie Massoud conga ...Vol. 3, No. 4, Aug-Sep 1998 CONTENTS THE GREAT DAREBIN MUSIC EXPO Celebrating cultural diversity 3 THE FINAL TOUCH Dangers of inappropriate picture framing 6 BOOK REVIEW Michele Lonsdale reviews Raymond Gaita's Romulus May Father 9 A NEW FACE IN ELTHAM ARTS From Brown's Town, Jamaica, to Eltham Wiregrass 10 BANYULE YOUTH ART AWARDS Young artists throw down the gauntlet 12 CD REVIEWS Authentic and Get A Handle On It 14 PHOTOGRAPHY John Fitzgerald's first exhibition 16 SHORT STORY Girl in a Yellow Sweater by Morag Kirk 18 POETRY REVIEW Ray Liversidge reviews Ian McBryde 22 THEATRE Carolyn Pickett at Heidelberg Theatre company 23 DAG HOUSE ON HIGH STREET New home for Darebin Arts Action Group 24 SIGMUND JORGENSEN DINES OUT Food and wine as culture 25 POETRY Sandy Jeffs' Poems From the Madhouse 27 RAY MOONEY PLAY REVIEW 27 THEATRE Alabaster Youth Theatre and Daniel Kahans at La Mama 28, 29 WINING, DINING & ENTERTAINING 30 PICASSO AND TUCKER AT HEIDE 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, john fitzgerald, annie keil-taggart, just add water, melanie shanahan, darebinn music expo, ruby hunter, cretan brotherhood dance academy, tim nikolsky, margaret leighton, paper moon, alfie massoud, conga pa gozar, neville crawford, framing, dymocks booksellers, raimond gaita, michelle lonsdale, eltham wiregrass gallery, charmaine sheppard, banyule young artists award, brett wood, rebecca james, saramcfarland, michael hebden, heath warwick, michelle wood, victoria ashton, pietro ristorante grossi, la mama theatre, robbie greig, nerida kirov, george kirov, mathew arnold, john skinner, jeff buckland, laurie strickland, eltham high school, montsalvat, eltham library community gallery, alan marshall short story award, morag kirk, dynamic vegies, jenni mitchell, ruth johnstone, la trobe university art museum, ian mcbryde, ray liversidge, heidelberg thearte company, carolyn pickett, darebin artists action group, sigmund jorgensen, sandy jeffs, la piazza restaurant bar & cafe, adams of north riding, llobex image wizards, yarra valley country club, daniel kahans, bulleen art & garden centre, museum of modern art at heide, monty deli & catering services, albert tucker, volumes -
Federation University Art Collection
Artworks - Printmaking, Limited edition prints by Andrew Sibley
... ) and Lee Pockriss (1924-2011) 1957 .2) 'It’s only a Paper Moon...) 'It’s only a Paper Moon' Sugar-Lift Etching With hand ...Andrew SIBLEY ( 9 July 1933-2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Six framed limited edition prints by Andrew Sibley using the Sugar-lift etching technique and hand colouring. Printed at the Australian Print Workshop, Melbourne and published by The Lytlewode Press, Melbourne in an edition of 125 in 2010. .1) 'Catch a Falling Star' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 17/125 Signed, inscribed and numbered by the artist. Catch a Falling Star written by Paul Vance (born 1929) and Lee Pockriss (1924-2011) 1957 .2) 'It’s only a Paper Moon' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. It's Only a Paper Moon by Harold Arlen (1905-1986) lyrics by E. Y. Harburg (1896-1981) and Billy Rose (1899-1966) 1933 .3) 'Come Fly With Me' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 9/125 Signed, inscribed and numbered by the artist. Come Fly with Me by Jimmy Van Heusen (1913-1990) lyrics by Sammy Cahn (1913-1993) 1957 .4) 'You are the Sunshine of my Life' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. .5) 'Some Enchanted Evening' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition:1/125 Signed, inscribed and numbered by the artist. Some Enchanted Evening Richard Rodgers (1902–1979) and Oscar Hammerstein II (1895–1960) South Pacific 1949 .6) 'Vilya, Oh Vilya' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. Vilya, Oh Vilya Die lustige Witwe (The Merry Widow), operetta Vilya, oh vilya Composed by Franz Lehar (1870-1948) 1905 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, printmaking, etching, churchill, gippsland campus -
Federation University Historical Collection
Document - Document - Letter, Ballarat Junior Technical School: Letter from Mrs E M Hood re appreciation of students from BJTS, 1956
Letter of appreciation from Mrs Hood for the work done chopping wood by two boys from the school. It was part of the Social Studies . Boys were Peter Moon and Brian McInnes. They were a credit to their parents, school and themselves. 2 sheets of lined writing paper, hand written in blue ink Signature of Mrs E M Hoodballarat junior technical school, head master, l garner, mrs e m hood, peter moon, brian mcinnes, social studies, appreciation of work -
Flagstaff Hill Maritime Museum and Village
Record Book, before 1897
This Record Book was printed and published in Melbourne by Sands & McDougall Limited and distributed to be sold by stationers for 1s. 6d (1 shilling and 6 pence) or with Blottings (blotting paper to soak up excess wet ink) for 2s. 6d..The back cover has advertising from the Colonial Mutual Life Assurance Society Limited, an insurance company based in Collins Street Melbourne.Inside the front cover is a Calendar for the year 1897 and a table with dates for Eclipses of the Sun and Phases of the Moon for that year. Contained within the diary is a loose page listing products and an order form for Sands & McDougall. There is also a section titled "Miscellaneous Information" that includes Weights and Measures, Postal Tarriffs, Holidays, Population of various towns and states, education and a Ready Reckoner for Hourly Wages. In UK in early 1800's the word 'mechanic' was applied to a broader range of skills such as working man, tradesman or artisan. Mechanics' Institutes were formed originally for voluntary, self-funded organisations, to improve the education of working men and to instruct them on their various trades. The germ of the idea came from a class formed in 1799 by Professor George Birbeck in Glasgow, Scotland, for journeymen mechanics (apprentice trade workers), with the first Institutes being organised in London and Manchester in the 1820's. By then the original aim had broadened and the Mechanics' Institutes were established as popular agencies of adult education. The Mechanics' Institutes were run by committees that provided facilities for a meeting room, hall suitable for lectures, and a library. Funding was raised locally and often supplemented by grants from government agencies for the purchase of books and other resources. Activities were community based. In Australia, Mechanics' Institutes were set up in New South Wales and in Tasmania in the late 1820's. Mechanics' Institutes began in Victoria, with the first one in Melbourne dating from 1839, providing similar services but in time offered services tailored to their specific area. Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. "These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In q856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art., and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. In 1975 the original building was demolished and the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: - The new City Library took some of the historic books and some important documents, historic photographs and newspapers. - The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. - The Historic Society has some items - The State Museum has some items - Some items were destroyed - Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. NOTE: Pages of this book have been digitally recorded and archived.The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. Record book, Warrnambool Mechanics Institute Curator's Diary, 1897,June to Dec (Donations). Printed and published by Sands & McDougall, Melbourne. Australian Rough Diary 1897 No 4, Card covers printed with advertising, 7 days to an opening, lined with cash columns.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, warrnambool mechanics' institute, mechanics' institute records warrnambool, record book c. 1897 -
Brimbank City Council Art Collection
Painting, Dancing Unicorn, October 1984
Artwork based on a Vietnamese custom called "Dancing Unicorn Festival" Occuring at the "TET" during New Years and Autumn's full moon. Typical scene would include boys dancing with a "unicorn" and others dancing around. Sometimes this festival can be seen in Victoria. Artist associated with The Living Museum of the West.Le Van Tai. Dancing Unicorn. Gouache on paper, 76 x 52cm. Blue painting in a cubist / futurist style. -
Federation University Art Collection
Work on paper, 'Sun and Moon Nature' by Kees Hos, 1964
... , Gippsland (Churchill), Stawell and Horsham. goldfields Work on paper ...Kees HOS In 1956 Kees and his wife Tina made a new life with their two children in the arts community of New Zealand. In Australia Kees established the art school at Gippsland College of Advanced Education in 1971 with a radical multidisciplinary approach to art education. He generously delivered encouragement and opportunities to many people including lecturers, visiting artists and students. His small team literally built an art school from zero. Temporary accommodation in an old factory and service station in Morwell moved to three student-built studios on the Gippsland Campus. His highest recognition was 1997 when the names of Kees and Albertine Hos were added to the Wall of Honour in the Garden of the Righteous at Yad Vasheem in Jerusalem along with many others who put their lives on the line against the biggest killing machine the world had known. The ‘hiding-place’ in Kees and Tina’s home was discovered but Tina managed to rescue a baby as her own while the Jewish parents were transported to Auschwitz and Dachau. Kees was on the run using his printmaking skills to forge passports but was eventually captured and jailed, the war’s end saving his life. Gippsland Director's Collection, Acquired 1973.Signed and dated lower right in pencil "Kees Hos '64"artist, artwork, kees hos, gippsland campus, gippsland director's collection, printmaking, wall of honour in the garden of the righteous -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, William Oliver, Red Bluff at Half Moon Bay, Sandringham, 1929
watercolourcoast, water, landscape, boat, red bluff, half moon bay, sandringham, cliffs, william oliver, bayside, port phillip bay -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, Sybil Craig, Half Moon Bay, c.1930
... watercolour Work on paper Half Moon Bay half moon bay sybil craig ...Sybil Craig, Half Moon Bay c.1930, pencil and watercolour, 21 x 18.8 cm. Bayside City Council Art and Heritage Collection. Purchased 2020.half moon bay, sybil craig, bayside, coast, bathing box, bathers, black rock, boat, landscape -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - acrylic on paper, Craig Gough, Night rotunda (from 'Sandringham series'), 1982
acrylic on papersandringham, craig gough, night, rotunda, coast, boat, port phillip bay, sandringham band rotunda, half moon bay, rooftops -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - charcoal on paper, Craig Gough, Half Moon Bay (from 'Sandringham series'), 1983
... charcoal on paper Work on paper Half Moon Bay (from 'Sandringham ...charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, black rock jetty, pier, half moon bay -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - charcoal on paper, Craig Gough, From the verandah (from 'Sandringham series'), 1983
charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, ship -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - charcoal on paper, Craig Gough, To the Bay (from 'Sandringham series'), 1983
charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, roof tops, palm tree -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - charcoal on paper, Craig Gough, The rotunda (from 'Sandringham series'), 1983
charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, palm tree, sandringham band rotunda, fountain, rotunda -
Geelong Gallery
Sculpture - Moon shadow (black hare), WEAVER, Louise, 2019
hand crocheted synthetic film, Japanese bamboo tape, plastic thread over high density foam, synthetic polymer emulsion, cotton rag paper, wire, hidden talismans -
Gippsland Art Gallery
Work on Paper, Piggott, Owen, Moon Along the Edge, 1983
... on Paper Moon Along the Edge Pencil on card Gippsland artwork ...Donated from the estate of the artist, 2016Pencil on cardgippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Frazer, David, Fly Me to the Moon, 1996
... Fly Me to the Moon Wood, Paper, Ink Gippsland artwork ...Purchased, 1996Wood, Paper, Inkgippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Ryrie, John, The Moon's Reflection II, 2009
Donated by the artist, 2019Linocut print on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Kleefsman, Deborah, Moon Rising, 2017
Purchased, 2017Drypoint etching and chine-colle on papergippsland, artwork, permanent collection -
Wangaratta RSL Sub Branch
Envelope Art
One of several illustrated envelopes, without letter, sketched by soldier/s during second world war and sent to Mrs McDonald of WangarattaVictoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with sketch of full moon over water and palm trees - to the left of this outline in blue of map of Australia with red shield in centreTop left - AIR MAIL above The Salvation Army Red Shield War Services Top right - postage stamp Left side - AIF Censor stamp Bottom left - " A Merry Christmas to you all" Right side Mrs M McDonald "Monald" 32 Grey Street Wangaratta Victoria Australia ww2, envelope art -
Heidelberg Theatre Company Inc..
Memorabilia - Program, Photos, Reviews, Newsletter, The Effects of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel directed by Bill Cherrey
Stella Dunn played Nanny, a senile old woman, in 'Gamma Rays' in April 1976 when she was a sprightly 82 year old.1. - Program - Jade coloured card with dark blue typeface, 2. - Photos -photographic paper. 3. - Review - photocopy paper. 4. - Roneod duplicate on foolscap paper.2. - Typed information on Stella Dunn glued onto the back of the photo, reverse side of photo has typed paper glued on as well as remnants of masking tape 3. - Photocopy of a review of The Effects of Gamma Rays on Man-in-the-Moon Marigolds on page 6 of the VDL (Victorian Drama League) newsletter 'Theatrecraft' April 1976. Includes photo of Sue Lukis as Tillie. 4. - Prompts Newsletter No 2 19th March, 1976. – Typed. Includes information on next production, reminders of happenings and forthcoming events and the Moomba Drama Festival results 1976, 170, bill cherrey - director, fred merryweather - set construction, michael bond - lighting, george bugge - sound, max brooks - photography, cast - stella dunn -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Moorabbin Air Museum
Manual (item) - Specifications; Bob Nash; ASTA Engineering; Jindivik; Lynton Moon; PCB Accessories; Potentiometers; Protective Treatment; P.T.F.E; Relays; Relays-Accessories; Rivets; Resistors; Rubber Extrusions; Jervis Bay Ground Equipment
-
Melbourne Legacy
Photograph, Legatees Donovan Joynt and Kem. Kemsley with Mick Moon
A black and white photograph of Legatees Donovan Joynt (seated) and Legatee Kemsley with Captain Mick Moon. Photo was taken at the opening of the Puckapunyal Sportsman's Club which had been named after Legatee Donovan Joynt (see also item 01352). Lieutenant Colonel Donovan Joynt VC and Captain Mick Moon VC as 'the only surviving VC winners from World War 1 in Victoria.' The photo was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.Part of the collection of material held by Melbourne Legacy on Legatee Donovan Joynt, a prominent Australian.Black and white group photograph of three men.Attached to paper with their names.donovan joynt, kem kemsley, mick moon -
Whitehorse Historical Society Inc.
Functional object - Label
Printed and used by the donor's father for labelling apple cases in his orchard.Oblong paper label, dark blue background with a red and green apple and green leaves. 'Red Moon' lettering with a red half moon. 'Fancy Apples' in green and packed by Blue Moon Fruit Co-operative Ltd, Victoria, Australia is in blue. The bottom edge of the label has Growers Count or Size Variety. The signature W. Ireland is also on the ;lower edgerural industry, orcharding -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Digital image, Barry Sutton, 10.08.1971
The RDNS Sister is about to leave to visit patients in their homes in the community to administer nursing care as advised by a Doctor. The RDNS insignia on the door of the car is a round badge with a royal blue circle around the edge with the words "Royal District Nursing Service" in white, and the centre section is in three parts ,with the upper and lower sections white, and a royal blue centre strip with the large white capital letters "RDNS".Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a woman Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding and a Motor Auxiliary was formed in 1929 to take the Trained nurses (Sisters) to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. Black and White Photograph of a Royal District Nursing Service (RDNS) Sister about to enter one of the new light grey 2 door Holden Torana RDNS cars. The Sister, who is smiling, is wearing her uniform grey peaked hat over her long dark hair which is drawn back. She is wearing her long grey coat with the RDNS insignia on the upper sleeve and is holding the partly opened driver side door of the car with her left hand. She is holding the handle on the top of her rectangular black nursing case with her right hand. To the right, the grill and black number plate, with the white writing displaying "KXF 024", can be seen. The round RDNS insignia is on the upper centre of the car door. The car is the same width all over, has a flat bonnet which joins a sloping windscreen adjoining a flat roof which runs along and joins a short back window running down to a boot. A black tyred wheel can be seen under wheel arches at the front and near the rear of the vehicle. In the background to the left is a mid size bare tree; behind this portions of several parked cars and behind them a multi storey building with the Written words "Rioby House". To its right and directly behind the car is a mid size bare tree and behind that the end view of a brick building with a hip roof. Barry Sutton Photographer. Quote KL 52rdns transport, rdns uniform, royal district nursing service, rdns -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 26.06.1972
The photograph of the Royal District Nursing Service (RDNS) Holden Torana vehicles was taken in the RDNS Headquarters car park at the rear of 452 St Kilda Road. These cars are part of the RDNS fleet, with others housed at RDNS Centres. The cars were used by the RDNS District nurses to visit patients in their own homes. This photograph depicts two door Holden Torana cars of 1972.Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a woman Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding and a Motor Auxiliary was formed in 1929 to take the Trained nurses (Sisters) to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. Black and white photograph of 14, some partly hidden, new grey Holden Torana two door vehicles parked in two rows in the RDNS concrete based car park. The cars are parked with their front lights, grill, bumper bars and number plates facing the left of the photograph. The cars are seen side-on with the full side-on view of the two cars at the beginning of the rows seen in the foreground of the photograph. The flat bonnet is the same width as the rest of the body of the car; the windscreen slopes upward and joins the flat roof; there are two wiper blades resting at the base of the windscreen. In line, and at the level of the windscreen, a quarter window, and two windows divided by a narrow pillar can be seen running along the side of the car above the slightly convex body work and front door. The rear window slopes back from the roof and the slope continues on the upper bodywork of the boot lid. A metal strip runs along the side of the car about half way down the bodywork, and another runs just up from the beginning of the front wheel arch to the rear wheel arch; beside the front wheel arch is the word 'Torana'. The round, with capital letters 'RDNS', insignia can be seen on the upper centre of the front door of the two cars. The solid wheel caps have the Holden logo on them. The front grill which runs between the headlights on either side of the car, slopes slightly backwards from the central Holden badge. The bumper bar below this is metal. Black number plates with white written capital letters and numbers 'LFA - 208' and 'LFA - 207' are seen on two of the cars in the front row. The tops of two front seats with headrests and the top of a long back seat can be seen inside the car. A tall brick fence is seen running along the rear and right hand side of the car park. In the left background is a two storey building with a flat roof, and behind this on its left is a part of a tall building and to its right part of a bare tree can be seen. To the buildings right rear part of a house can be seen. In front and to the right of this is a three storey brick building, with the top two storeys seen above the car park fence. Multiple windows run along both levels of this building which has a tiled hip roof. The tops of some bushes are seen behind parts of the car park fence.Barry Sutton Photographer's Stamp Quote KX83rdns, royal district nursing service, rdns transport, rdns headquarters, rdns car park